TheClarinet Mar16

Vol. 43 No.
2
March 2016
Also in this issue...

Theodore Johnson: Remembrances
and Recommendations
The Clarinet in NYC: 1842-1900
daddario.com
EDITOR
Rachel Yoder
rachelyoderICA@gmail.com
Introducing
MUSIC REVIEWS EDITOR
Greg Barrett
gregbarrett@niu.edu
AUDIO REVIEWS EDITOR
Kathleen D. Chau,
Chris Nichols
crnichol@udel.edu
GRAPHIC DESIGN
ICA Executive Assistant

Karry Thomas Graphic Design
karry@karrythomas.com
ADVERTISING COORDINATOR
Elizabeth Crawford
clarinetadverts@gmail.com
he ICA is pleased to welcome Kathleen D. Chau as Executive Assistant. INDEX MANAGER
In addition to supporting our day-to-day operations and fiscal management, Emily Kerski
she will supervise publication of The Clarinet and continue to update our
business procedures.
ABOUT THE COVER:
Kathleen Chau is a retired military clarinetist, having Vol. 43 No. 2

March 2016
served in the U.S. Navys premier musical ensemble, the

U.S. Navy Band in Washington, D.C. As a member of
this White House support unit, she performed with the
Concert and Ceremonial Bands, traveled extensively
throughout the United States, supported high-level military
and international events, and entertained thousands of
concert patrons annually. Chau also held several key
organizational roles. She initially managed the bands
administrative services and subsequently supervised fiscal Also in this issue...
and supply operations. Following her military retirement,

Theodore Johnson: Remembrances
and Recommendations
The Clarinet in NYC: 1842-1900
she has been actively involved in operating a small business
Kathleen D. Chau devoted to early childhood development, and was recently Campus of the University of Kansas in Lawrence,
kathleenchauICA@gmail.com
appointed Music Program Coordinator at the National Kansas
Gallery of Art, Washington, D.C. A graduate of Central
Michigan University with a Bachelor of Arts and a Master The Clarinet (ISSN 0361-5553) is published 4 times
of Administration, Chau continues to perform in a variety a year by the International Clarinet Association
of ensembles in the Washington, D.C. area, and especially International Clarinet Association
enjoys the fun and camaraderie of the small community 118 N Conistor Ln, Suite B, Box 296
Liberty, MO 64068
bands of Northern Michigan.
office: 443-286-1396
www.clarinet.org
ICAclarinet facebook.com/icaclarinet
Copyright 2016, International Clarinet Association.

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.
2|THE CLARINET MARCH 2016

International Clarinet Association
President: E-Newsletter Editor:
Caroline Hartig hartig.15@osu.edu Phillip O. Paglialonga ppaglialonga@hotmail.com
Past President: Historian:
John Cipolla john.cipollaICA@gmail.com Alan Stanek stanalan@isu.edu
Secretary: ICA Research Center:
Denise Gainey dgaineyICA@clarinet.org University of Maryland www.lib.umd.edu/scpa/scores
Treasurer: Research Coordinator and Library Liaison:
Tod Kerstetter tkerstet@k-state.edu Malena McLaren mclarenm@nsula.edu
International Representative: Social Media Editor:
Stephan Vermeersch stephanvermeersch.ICA@gmail.com Timothy Phillips tphillips16791@troy.edu
Executive Director: Webmaster:
Lynn Fryer lynnfryerICA@gmail.com Kevin and Sonya Morgan www.morgansites.com
Executive Assistant:
Kathleen Chau kathleenchauICA@gmail.com
Contact information for national chairpersons is available in the member directory at clarinet.org. HONORARY MEMBERS
Ben Armato (19282015)
Walter Boeykens (19382013)
NATIONAL CHAIRPERSONS Betty Brockett (19362003)
Argentina: Carlos Cspedes Iceland: Kjartan skarsson Clark Brody (19142012)
Armenia: Alexandr G. Manukyan India: Dr. Pandit Narasimhalu Vadavati Jack Brymer (19152003)
Larry Combs, Evanston, Illinois
Australia: Floyd Williams Ireland: Paul Roe Buddy DeFranco (19232014)
Austria: MSDir. Mag. Israel: Eva Wasserman-Margolis Hans Deinzer, Frankfurt,
Dr. Friedrich Pfatschbacher Italy: Luigi Magistrelli Germany & Bobbio, Italy
Belgium: Hedwig Swimberghe Japan: Masaharu Yamamoto Guy Deplus, Paris, France
Stanley Drucker, New York, New York
Brazil: Ricardo Dourado Freire Luxembourg: Sbastien Duguet F. Gerard Errante, Las Vegas, Nevada
Bulgaria: Bobo Yotzov Mexico: Luis Humberto Ramos David Etheridge (19422010)
Canada, National Chair: Pat Daniels Netherlands: Cleste Zewald Lee Gibson (19152013)
Canada, St. Lawrence Region: New Zealand: Andrew Uren James Gillespie (Editor Emeritus), Denton, Texas
Norway: Christian Stene Paul Harvey, Twickenham, Middlesex, U.K.
Lorne Buick
Stanley Hasty (19202011)
Canada, Great Lakes Region: Peoples Republic of China: Yi He Ramon Kireilis, Denver, Colorado
Barbara Hankins Peru: Marco Antonio Mazzini Bla Kovcs, Budapest, Hungary
Canada, Central Region: Poland: Jan Jakub Bokun Frank Kowalsky, Tallahassee, Florida
Margaret Wilson Portugal: Antnio Saiote Jacques Lancelot (19202009)
Karl Leister, Berlin, Germany
Canada, Pacific Region: Patricia Kostek Puerto Rico/Carribean: Kathleen Jones Mitchell Lurie (19222008)
Chile: Luis Rossi Serbia: Andrija Blagojevi John McCaw (1919-2015)
Columbia: Javier Asdrbal Vinasco Slovakia: Jlius Klein John Mohler, Chelsea, Michigan
Costa Rica: Lenin Izaguirre Cedeo Slovenia: Joze Kotar Fred Ormand, Lawrence, Kansas
Bernard Portnoy (19152006)
Czech Republic: Stepn Koutnk South Africa: Edouard L. Miasnikov Alfred Prinz (19302014)
Denmark: Anna Klett South Korea: Im Soo Lee Harry Rubin, York, Pennsylvania
Finland: Juhani Valtasalmi Spain: Carlos Jess Casad Tarn Antnio Saiote, Porto, Portugal
France: Jean-Marie Paul Sweden: Stefan Harg James Sauers (19211988)
Switzerland: Matthias Mller James Schoepflin, Spokane, Washington
Germany: Prof. Johannes M. Gmeinder Selim Sesler (19572014)
Great Britain: Dr. Sarah Watts Taiwan: Chien-Ming David Shifrin, Norwalk, Connecticut
Greece: Paula Smith Diamandis Thailand: Cassandra Fox-Percival William O. Smith, Seattle, Washington
Hong Kong: Maria Wong Uruguay: Martn Castillos Harry Sparnaay, Lloret de Mar, Spain
Hungary: Bence Szepesi Venezuela: Victor Salamanques Hans-Rudolf Stalder, Switzerland
Milenko Stefanovi, Belgrade, Serbia
Ralph Strouf (19262002)
Elsa Ludewig-Verdehr, East Lansing, Michigan
Himie Voxman (19122011)
AD RATES & ICA MEMBERSHIP FEES George Waln (19041999)
For advertising rates and specifications or to join the David Weber (19142006)
Pamela Weston (19212009)
International Clarinet Association, visit www.clarinet.org. Michele Zukovsky, Los Angeles, California
MARCH 2016 THE CLARINET|3

Features 24
24 Guido Six (19552015) 56 Dont Give Me Daphnis: An

by Eddy Vanoosthuyse Injury Recovery Guide for
and Robert Spring
Clarinetists Part 3
26 The Chicago Mouthpiece by Mary Alice Druhan, with
Kristin Keesey and Debbie Gillespie
Legacy Part IIB
by David Tuttle
60 ClarinetFest 2016
by Stephanie Zelnick
32 Theodore Johnson:
Remembrances and
Recommendations
Advertiser Index
by Dennis Nygren
32
40 A Short History of the
Clarinet in New York City in AMB Clarinet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
the 18th and 19th Centuries Ann Arbor Clarinet Connection . . . . . . . . . . . . 75
Aria International Summer Academy . . . . . . . 80
Part 2 Aurora Winds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
by Jane Ellsworth Belgian Clarinet Academy . . . . . . . . . . . . . . . . . . 54
Brannen Woodwinds . . . . . . . . . . . . . . . . . . . . . . 57
46 Masterworks for Buffet Group USA . . . . . . . . . . . . . . . . . . . . . . . . . IFC
Bass Clarinet California Clarinet Clinic . . . . . . . . . . . . . . . . . . . . 73
Chopsaver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
A Personal Experience Claremont Clarinet Festival . . . . . . . . . . . . . . . . 69
by Rocco Parisi Clarinetopia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Classical Collection Inc. . . . . . . . . . . . . . . . . . . . . 10
48 Report from Norway Crystal Records . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
by Gregory Barrett DAddario Winds . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Freewing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
H. Karlsson Woodwinds . . . . . . . . . . . . . . . . . . . . 67
Departments
Indiana University
Jacobs School of Music . . . . . . . . . . . . . . . . . .19
J.L. Smith & Co. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Lift Academy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Lisas Clarinet Shop . . . . . . . . . . . . . . . . . . . . . . . . 29
Lomax Classic Mouthpieces . . . . . . . . . . . . . . . . 37
2 Introducing 22 Hysterically Speaking Luyben Music Co. . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Kathleen D. Chau, by Eric Hoeprich Midwest Musical Imports . . . . . . . . . . . . . . . . . . . 5
ICA Executive Assistant 62 Reviews Muncy Winds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Patricola Brothers . . . . . . . . . . . . . . . . . . . . . . . . . . 10
6 Clarinotes 73 Audio Notes Peabody Conservatory of
by Chris Nichols The Johns Hopkins University . . . . . . . . . . . 35
9 News from Latin America ReedGeek, Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
by Ricardo Dourado Freire 76 ICA Officer Election RJ Music Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Candidates Rodriguez Musical Services . . . . . . . . . . . . . . . . 45
12 News from France Rovner Products . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
by Jean-Marie Paul 79 BuzzReed Connecting the Taplin-Weir . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39, 74
14 Letter from the UK Clarinet Community The Ohio State University
School of Music . . . . . . . . . . . . . . . . . . . . . . . . . 78
by Paul Harris by Spencer Prewitt, Jesse Krebs,
Universitt Mozarteum Salzburg . . . . . . . . . . . 75
Kristy Nichols and Eric Salazar
16 Teaching Clarinet Van Cott Information Services . . . . . . . . . . . . . . 43
by Michael Webster 80 Message from the Board Vandoren . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IBC
Wichita Band Instrument Co. . . . . . . . . . . . . . . . . 8
20 Historically Speaking Woodwindiana, Inc. . . . . . . . . . . . . . . . . . . . . . . . . 54
by Deborah Check Reeves Yamaha Corporation of America . . . . . . . . . . . 84

Musicians Serving Musicians
Whether youre a beginner or
seasoned professional, discover a standard
of excellence only truly knowledgeable
service can bring.
Experience our wide variety of

hand-selected Buffet clarinets, set up
by expert technicians, and presented
by exceptional clarinet specialists.
Quality instruments, accessories & repairs

Hand selected Buffet-Crampon clarinets
Professional instrument set-up
Try up to four instruments, no deposit!
1-year maintenance/2-year crack warranty
New, used, consignment and rentals
BASS Excellence in Service and

TOSCA
CLARIN
ETS
K
Selection Since 1983
IN STOC
www.mmimports.com
1-800-926-5587
2015 MONTANA/IDAHO CLARINET FESTIVAL
by Kate Young
The 2015 Montana/Idaho Clarinet

Festival took place at the University of
Montana School of Music in Missoula
on September 1112. Christopher
Kirkpatrick, assistant professor of clarinet
at the University of Montana, hosted
the event. Maxine Ramey, director of
the School of Music at the University
of Montana, was also there to welcome
participants to the festival. Students from
various universities and guest artists from
across the country joined together for a
two-day event of learning and playing.
Jonathan Holden (Florida State
University) and Oskar Espina-Ruiz
(University of North Carolina) served
as featured guest artists who each gave a
master class and solo recital. Espina-Ruiz
2015 Montana/Idaho Clarinet Festival faculty
presented an opening recital titled Clarinet
Without Boundaries, focusing on complex
technical works for solo clarinet by Spanish,
Latino and American composers. Eriksson). This duo concert exposed the including The Liberty Bell March and
The next day, a recital featured guest audience to music outside of the traditional Holsts First Suite in E-flat Major. The
artists Kate Young, John Coppa, Joshua repertoire for clarinet duet and saxophone/ choir also played Mietzs own well-
Mietz, Greg Young, Leslie Moreau, Chris bass clarinet, and was an excellent addition conceived arrangements of Clocks
Mothersole, and the comical Greater to the festival. In the afternoon, Shawn by Coldplay and the University of
Missoula Area Single Reed on a Wooden Copeland presented a well-attended Montana fight song. To conclude the
Horn Society. Later in the day, a duet recital Alexander Technique workshop. 2015 Montana/Idaho Clarinet Festival,
was given by the Tosca Duo (clarinetists The festival attendees participated Jonathan Holden gave a recital of music
Shawn Copeland and Lynn Musco) in the Festival Clarinet Choir, directed by U.K. and U.S. composers, including
and Duo Nyans (clarinetist Christopher by Joshua Mietz. They performed works by Gershwin, Copland, Stanford,
Kirkpatrick and saxophonist Johan Matt Johnstons arrangements of works Roxburgh and Hurlstone.

LA FIESTA DE LOS CLARINETES 2016
IN HAVANA, CUBA
by Marita Rodrguez provide the artistic and general direction In addition to host Vicente Monterrey,
of the event, which is sponsored by the clarinet professor at the University of Arts
The fourth annual Fiesta de los Clarinetes and principal clarinet of the Opera and
National Concert Music Center and the
will take place March 28-April 2, 2016, Ballet Orchestra of Cuba, featured artists
Mozart Lyceum of Havana.
in Havana, Cuba. The event is a project will include:
of the Duo Daccord (clarinetist Vicente The week-long Fiesta de los Clarinetes
will feature concerts held in San Felipe Cuban clarinetists: Javier Zalba,
Monterrey and pianist Marita Rodrguez),
Neri one of the countrys most Dianelys Castillo, Arstides Porto,
bringing together chamber music
prestigious music halls and master classes Hctor Herrera, Aylet Roque, Antonio
professionals from across the country and
Dorta, Alden Ortuo, Michael
guests from other regions to celebrate a and chamber music workshops in the
Elvermann, Rafael Inciarte, Maryibis
musical fiesta. Marita Rodrguez will classrooms of Havanas Mozart Lyceum.
Garca, Niniam Rodrguez, Kimani
Simn and Joel Lafont
Special guests: Trio Tre Colori from
Germany (Carelys Carreras, clarinet;
Elisabeth Wieland, oboe and Arlette
Probst, bassoon) and Mauricio Murcia,
clarinetist from Colombia
banos de La Habana Clarinet Quartet:
Laura Caldern, Dunia A. Benitez,
Yanexy Machado and Mario Rodrguez
Trio Caas Mviles from Cuba: Maray
Villeya, clarinet; Claudia Toledo, oboe
and Osmany Hernandez, bassoon
For more information, please contact
Marita Rodrguez at maritadavid@cubarte.
Clarinet choir performance at La Fiesta de los Clarinetes 2015 cult.cu.
2015 CALIFORNIA CLARINET CLINIC

by Shawn Copeland and Stephan Vermeersch Technique, yoga, breathing technique, Most days started at 7:30 a.m. with
extended techniques, chamber music and yoga or tai chi, followed by breakfast,
The second edition of the California solo performance. private lessons, presentations/lectures,
Clarinet Clinic took place June 21-27
at the Aldersgate Retreat Center in Los
Angeles, CA. The clinic is directed by
Julia Heinen, professor of clarinet at
California State University Northridge,
and Peter Wright, principal clarinetist of
the Jacksonville Symphony. In addition to
Heinen and Wright, the faculty included
Shawn Copeland, Gary Gray, Burt Hara,
William Powell, Alcides Rodriguez,
Heather Rodriguez, Stephan Vermeersch
and Michele Zukovsky.
The California Clarinet Clinic
addressed most aspects of educating
the 21st-century clarinetist. Seventeen
participants experienced private
lessons, group master classes, a clarinet
repair clinic with Levi Tracy of RDG
Woodwinds, a mouthpiece presentation
by James Kanter, a reed lecture, and
presentations on stage fright, Alexander 2015 California Clarinet Clinic faculty and participants

lunch, presentations/lectures, master experienced a guided tour on the process
classes or chamber music, dinner, and of reed and mouthpiece production.
ICA ANNOUNCEMENT then group master classes or concerts. One The 2016 California Clarinet Clinic
morning featured a trip to the DAddario will take place June 19-23;
2017 Composition factory an honored sponsor of this more information is available at
summer program where participants http://californiaclarinetclinic.com.
Competition
Clarinet Choir WILLIAM CARL DOMINIK
(1925-2015)
W
The ICA Composition Competition
seeks original works, previously illiam Carl Dominik
unperformed, for clarinet choir, passed away at the age
10-15 minutes in length. The of 90 on November 6,
deadline is December 31, 2016; 2015. Dominik grew up
the winner will receive a $1000 in Lansing, Michigan, and was drafted
prize and a performance of the into the U.S. Army Air Forces during
work at ClarinetFest 2017. World War II, initially as a clarinetist and
later taking on other duties. When the
For details, please visit war ended, he resumed his music studies,
www.clarinet.org or contact earning a bachelors degree at Michigan
Antonio Fraioli, coordinator State College and a masters degree at
(antonio.fraioli@libero.it) the University of Southern California,
where he later completed his doctorate.
His clarinet and music training included
study with Clark Brody, Robert Marcellus,
Kalman Bloch, Joseph Siniscalchi and
Keith Stein.
Dominik joined the Conservatory
of Music faculty at the University of
the Pacific in 1967 as a clarinet and
chamber music professor, and upon his
William Carl Dominik
retirement, he received the universitys
Order of the Pacific and the award
of Professor Emeritus. His previous
teaching appointments included Bethany the International Clarinet Association,
College (Kansas), Oberlin Conservatory, for which he served as the California
University of Wisconsin Madison, State Chair for many years. He played
Texas A&M University Kingsville and in various orchestras, including at
California State College at Los Angeles. Berkshire Music Center at Tanglewood in
Dominik was a member of many Massachusetts, and appeared frequently as
professional organizations including a soloist, clinician and adjudicator.

News from
by Ricardo Dourado Freire
C
larinet players in Latin for 48 young players to take part in a Espectculo in Porto, Portugal. The event
America are organizing many national clarinet competition. These are included master classes, individual clarinet
events to promote the clarinet small steps that are making the clarinet lessons, clarinet ensemble rehearsals and
and clarinet performance community stronger in Latin America. two featured recitals given by Cabrera
around the continent. This column and Saiote. The final concert featured
discusses important ways people are PRIMER ENCUENTRO DE the participants and a clarinet ensemble
working to bring clarinet players together: CLARINETES DE PARAGUAY conducted by Saiote.
in Paraguay, a first-ever gathering of FIRST CLARINET MEETING OF The Primer Encuentro was an excellent
clarinetists; in South Argentina, a visionary PARAGUAY opportunity to create a community of
teacher and a clarinet choir organizing an Paraguay was waiting for a clarinet event clarinet players in Paraguay. Cabrera
international event; and in Brazil, a small for a few years and it took a very talented promoted an important goal of the ICA
clarinet company holding local auditions young player with determination and fostering communication and fellowship of
inspiration to do it. Jos Cabrera was clarinetists by including Paraguay on the
born in 1992, and today he is a member roster of clarinet events in Latin America.
of the Orquesta Sinfnica Nacional
de Paraguay in Asuncin. He studied
with Ruben Jara in Paraguay and at the
Academia Latinoamericana de Clarinete in
Caracas, Venezuela, under the guidance of
Valdemar Rodrigues, Jorge Montilla and
Carmen Borregales.
Cabrera returned to Paraguay to
develop a career as a classical player and
to promote the clarinet for the younger
generation. His efforts resulted in the
Primer Encuentro, a clarinet event
bringing together clarinet players from all
around the country of 7 million people
in the center of South America. The event
was held at the Main Hall of the Sinfnica
Nacional, October 22-25, 2015.
The guest of honor was clarinetist and
conductor Antonio Saiote, professor at
the Escola Superior de Msica, Artes e Antonio Saiote and Jos Cabrera

IV ENCUENTRO INTERNACIONAL DE CLARINETES DE BAHA
BLANCA (ARGENTINA) FOURTH INTERNATIONAL CLARINET
MEETING OF BAHA BLANCA
Gustavo Kamerbeek lives in Baha Blanca, del Teatro Coln) from Argentina. The
situated 400 miles south of Buenos Aires, participating ensembles included the Coro
Argentina. He is a true clarinet enthusiast de Clarinetes Carmelo Azzolina (clarinet
who devotes himself to clarinet teaching, choir), Banda Sinfnica de Baha Blanca
Made in Italy professional playing and conducting the (wind symphony), Sudestada Big Band
Coro de Clarinetes Carmelo Azzolina, a and Quinteto de Vientos Lakm (wind
clarinet choir of students and amateurs. The quintet). There were many local players
Virtuoso fourth annual Encuentro Internacional de
Clarinetes de Baha Blanca took place July
including Diego Casoni, Ral Soto,
Ricardo de Armas, Gabriel Dominguez,
Future generation
9-12, 2015, with four days of master classes, Uriel Kaufman, Juan Pablo Vazquez,
recitals, concerts, lectures and presentations. Denise Boudout, Pamela Gallardo and
The event was supported by the Asociacin Roberto Gutirrez.
Filarmnica de Baha Blanca and the The IV Encuentro showed how
Secretara de Extensin Universitaria de la important it is for a community to value
Grenadilla Universidad Nacional del Sur. the joy of playing the clarinet. The event
& Guest artists included Cristiano Alves was promoted by a group that developed
Rosewood (Universidade Federal do Rio de Janeiro) passion for the instrument, and by
and Alexandre Ribeiro (choro soloist) Gustavo Kamerbeek, who works tirelessly
Eb from Brazil; and Osvaldo Lichtenzvieg to inspire younger students and also to
Bb (Escuela de Msica de Neuqun) and motivate amateurs to keep playing and
A Guillermo Astudillo (Orquesta Estable enjoying life as a clarinetist.
C
Gustavo Kamerbeek
leading the clarinet choir
CLARINET SOLOS
with
FULL ORCHESTRAL ACCOMPANIMENT
change the tempo, record yourself with the accompaniment
Handmade Mozart, Weber, Spohr, Crusell, Stamitz, Krommer, Tartini
for more information, please visit our web site

ClassicalCollectionInc.Com
www.patricola.com

II RAFAEL GALHARDO CARO CLARINET COMPETITION from So Paulo, second place to Lucas
The Brazilian clarinet company Devon Paulo, October 10-12, 2015, and required Ferreira from Rio de Janeiro, and third place
and Burgani organized the second edition to play Bla Kovcs Hommage Strauss to Paulo Mantovani from So Paulo. The
of Rafael Galhardo Caro Clarinet and Claudio Santoros Etude No. 2 first two places received Devon and Burgani
Competition in 2015. The contest (1942). Six finalists were then selected to clarinets and clarinet apparel from sponsors.
was named after a renowned clarinet perform Debussys Premire Rhapsodie in The Rafael Galhardo Caro Clarinet
teacher who worked in the So Paulo the final round. Competition recognized young talent and
Opera Orchestra and taught clarinet for Jos Botelho from Rio de Janeiro served brought to the big city of So Paulo players
almost 50 years. Initially, there were 48 as chair of the jury, which included Nuno from such states as Minas Gerais, Esprito
competitors from all over Brazil, organized Silva (Portugal), Mrcio Pereira (Portugal), Santo, Paraba, Piau, Amazonas, Gois,
into six regional contests. Twelve players Lara Diz (Spain) and Piero Vicenti (Italy). Pernambuco, and Rio de Janeiro. v
were selected for the semifinals in So First place was awarded to Ariane Rovesse
ABOUT THE WRITER

Ricardo Dourado
Freire is professor
of clarinet at
Universidade de
Braslia (UnB) in
Brazil. He studied
at UnB with Luiz
Gonzaga Carneiro,
and at Michigan State
University with Elsa Ludewig-Verdehr. Freire
is an enthusiast of Latin American music,
both classical and popular, and participated
(Left to right) Paulo Mantovani (3rd place), Lucas Ferreira (2nd place), Ariane Rovesse (1st place), Marcio in clarinet events in Brazil, Colombia, Italy,
Pereira, Nuno Silva, Piero Vicenti, Lara Diaz, Jos Botelho, Srgio Burgani and Odivan de Santana Peru, Portugal, USA and Venezuela.
Lift Clarinet Academy

Take your playing to the next level
At the Lift Clarinet Academy we want you to arrive with

a goal and leave with a sense of achievement.
Through planning and communication prior to the
academy, we create a program that ensures students
receive the musical boost they are looking for!
Summer 2016
Wesley Ferreira Jana Starling Julie DeRoche
June 13 - 17
Colorado State University Western University DePaul University
www.LiftClarinetAcademy.com
Located in beautiful Fort Collins, Colorado - On the foothills of the Rocky Mountains

News from
Jean-Marc Volta (Paris), Richard Rimbert
(Bordeaux), Philippe Moinet (Nancy),
Alain Toiron (Mulhouse-Colmar). No
candidate was eligible to compete on bass
clarinet (Alain Billard class); the next
competition will be in 2016.
CNSM Lyon. Master level Mention
trs bien: Marion Allain, Anas Audig
and Ccilia Lematre-Sgard. License level
(a notation is given, not a prize) Elsa
Loubaton and Christine Cochenet. Jury:
Franck Amet, Philippe Berrod, Jrme
by Jean-Marie Paul Comte.
NEW CHAIRS
O
Garde Rpublicaine: Mait Atassay, solo
n November 23, Buffet- bass clarinet; Franck Scalisi, co-principal;
Photo Credit: Yoann Lhostellier

Crampon organized a Damien Fouilloux, E-flat clarinet co-
huge concert (3 hours) principal.
at the new concert hall Orchestre National des Pays de Loire:
of Radio France in celebration of its Competition was held on November 10
190th anniversary. The clarinet part of for the bass clarinet position; no one was
the program included: Mozarts Gran chosen. New competition: April 4, 2016.
Partita (Michel Arrignon and Paul Meyer, Opera de Toulon: Franck Russo.
clarinets; Nicolas Baldeyrou and Alexandre Russo is a founding member of the
Chabod, basset horns); Milhauds La Absinthe clarinet quartet and a laureate
Cration du monde (Paul Meyer, conductor; of several international competitions,
Romain Guyot and Kenji Matsumoto, including: Prague, Debussy (Paris),
clarinets); Saint-Sans Symphony No. 3, Nielsen (Denmark) and Lancelot (Rouen
final movement (arr. N. Baldeyrou) with and Tokyo).
an international choir of 48 clarinets Orchestre de Picardie: Romy
conducted by Antonio Saiote; and klezmer Bischoff, soloist of the Paris Police Band
music by the Giora Feidman Trio. There (Musique des Gardiens de la Paix)
was also a commission for orchestra,
Rhapsody for Talents, conducted by the PREMIERES
composer Giancarlo Castro dAddona, and There have been many premieres, most
U.S. clarinetist Felix Peikli played a jazz notably: 5 Moments retrouvs by Nicolas
duet with saxophonist Luigi Grasso. Elodie Roudet
Bacri (with piano), played by Philippe
Cuper on June 9, commissioned for
NATIONAL SUPERIOR Philippe by the Versailles Conservatory
CONSERVATORIES (CNSM) and Vandoren and played for the
CNSM Paris, June 12-13. License level Prix in the past) Mention trs bien: Cahuzac International Competition;
(3 years) Mention trs bien: Madoka Elodie Roudet and Bogdan Sydorenko and Petite Suite Klezmer by Serge
Tsuruyama (unanimously), Mat (both at the unanimity of the jury with Kaufmann, November 8, Paris, Thtre
Atasay, Paul Dujoncquoy, Benjamin congratulations; Roudet will perform at Adyar, with the composer at the piano.
Fontaine. Mention bien: Josphine the 2016 ClarinetFest). Mention bien: Armand Angster also performed several
Besanon and Iaki Vermeersch Amor Jaehyuk Jang and Amaury Viduvier (at the premieres; for a complete list, visit www.
(unanimously). Master level (called unanimity of the jury). Jury (clarinetists): accrochenote.com.

OBITUARIES
November 29,
2014: Pierre
Boulanger (b.
1938) studied
with his brother
Edmond (first
prize at the Geneva
Competition) and
received his first
prize in 1956 at the
Paris Conservatory
after only nine
months. He was
principal in the
Air Force Band
and member of the June 1-5, 2016
Garde Republicaine
Band. Boulanger Faculty
also performed Charles Neidich: New York Woodwind Quintet;
with the Orchestre Aaron Copland School, Juilliard, Mannes, Manhattan
Ayako Oshima: Juilliard, SUNY Purchase, Hartt
de Paris from its
Elsa Ludewig-Verdehr: Verdehr Trio; Michigan
founding in 1967, State University
and taught in Paris Guy Yehuda: Trio di Colore; Michigan State University
in conservatoires Pierre Boulanger Tasha Warren-Yehuda: Michigan State University
darrondissement. Michael Webster: Rice University; formerly
December 17, Rochester Philharmonic and San Francisco Symphony
2014: Jacques Leone Buyse: Rice University; formerly Boston Symphony
Niopel (b. 1935) and Boston Pops
was awarded a first prize at the Paris Ramon Wodkowski: mouthpiece expert
Conservatory in 1957 and taught during Scheduled Events
his life at the Amiens Conservatory. Scores Master Classes: collaborative pianists provided
which were dedicated to him include Presentations: Yoga and the Clarinet; Audition Preparation;
Romance et Sicilienne of Charles Jay and a Charlies Choice; Owning the Stage
clarinet quartet of Semler-Collery. Faculty Recitals: Charles Neidich and Ayako Oshima;
Guy Yehuda and Tasha Warren-Yehuda; Michael Webster
August 11, 2015: Emile Pannetier (b.
and Leone Buyse
1919) studied at the Lyon Conservatory
Student Recitals: All Master Class Performers
during WWII, then joined the Police
Band under Semler-Collerys baton; NEW!! Clarinet Day, June 4, Tasha Warren-Yehuda, director.
he received third place at the Geneva A busy afternoon devoted to pre-college clarinetists and
Competition. In 1947 he began playing adult amateurs. Details at clarinetopia.com
with the Opera de Lyon whose conductor
was the famous Andr Cluytens. He
later switched to the Orchestre National Applications
A maximum of twenty master class performers
de Lyon and remained there until his
will be selected from submitted recordings.
retirement in 1984 (my thanks to Franois Other participants will be able to attend all events
Sauzeau, the current clarinet soloist of as residents or with daily passes.
the Orchestre National de Lyon, for this
information). Accommodations
On-campus housing and meals are available at a very
December 28, 2015: Jean Aubain (b.
reasonable cost.
1928) was the director of the Versailles
Conservatory from 1963 to 1996. He Contact Us
composed Pastorale et Scherzo for clarinet Visit www.clarinetopia.com for up-to-date information,
and piano (1979); Concerto for clarinet application forms, costs and all inquiries.
and orchestra (1985; also available email: clarinetopia@gmail.com, phone: 979-246-4144
in a piano reduction); and Piece pour Any changes of faculty or scheduled events will be
7 clarinettes, which was dedicated to reflected at the website.
Philippe Cuper and premiered with the
Choeur de Clarinettes de Versailles. v

Letter
composers (from Scandinavia, for example)
but does not, in any way, cite Hindemith
by Paul Harris
as an influence either stylistically or
structurally. Common to all Tims sonatas
is an intention to build an entire work
from
from a small harmonic or melodic cell. A
second strand running through the series
is the notion that traditional forms are
the
not simply a template that can be used
lightly, but a platform through which the
composer can satisfy or deny expectations
on the part of the listener.
Before I asked Tim about the work
itself, I raised the question of how he felt
in taking on such a historically emotive
TIMOTHY BOWERS but as we know, late works for clarinet
have often been a composers swan song task. He responded:
CLARINET SONATA:
BOLDLY TAKING THE SONATA (Mozart, Schubert, Brahms, Reger, Saint- When I started writing the series,
W
INTO TERRITORIES NEW Sans, Nielsen, Poulenc...) I convinced myself that I was not
hen a composer decides But the British composer Timothy a superstitious man; however, Ive
to write a complete cycle Bowers has challenged fate and decided now reached the point that I have
of wind sonatas, should to do just this he began as Nielsen did, one left to write (for flute) and I
they take into account the with a terrific Wind Quintet, and has cant pretend that Im not a little
lessons of history? Saint-Sans, Poulenc since completed sonatas for bassoon and uneasy at this moment. But Im
and others made this decision and fate oboe. He has now taken the plunge and happy to report that the Clarinet
decreed that their cycles, sadly, would completed his Clarinet Sonata. For clarinet Sonata flowed quickly. And I remain
forever remain unfinished. Not only this, players, a new sonata is always an exciting in good health and have many ideas
and important event, and Tims new work for the final Flute Sonata!
will certainly not disappoint. Lets have a
look at this significant British composer; The sonata is Tims third work for solo
Timothy Bowers may be a name unknown clarinet the others are Concerto Festivo
to some readers. for clarinet and symphonic winds and
Tim was a pupil of the great Alan Incantation & Dance for unaccompanied
Bush (who regrettably never wrote for the clarinet. It will be of interest for readers
clarinet as a solo instrument) at the Royal to know that neither work has received
Academy of Music where Tim now teaches. a premiere in the United States yet. The
He has gone on to become a notable Clarinet Sonata was not written for a
composer of instrumental and vocal music. particular player, but having already
He has written solo works for almost every explored the instrument in two very
instrument, including sonatas for all the different ways, Tim had a particular
orchestral brass instruments, strings, piano, sound in mind for this piece. Tempting
guitar and classical accordion. Many of though it was for the composer to favor his
these works have been commissioned by beloved flat keys and long, quiet melodic
leading players; Tims commitment to lines, the mainspring of the work is a
writing works for solo performers reflects dark, sometimes cold energy that leads
many years of teaching and working with eventually to a warmer mode of expression.
exceptional artists at the Royal Academy. The piece interestingly, and unusually,
Timothy Bowers Tim acknowledges the precedent explores the central tonality of B minor,
of Hindemith and some lesser known a key not often favored by composers in

writing for the clarinet (except, of course,
ICA ANNOUNCEMENT
Brahms), but one that reveals vitally
Site Search for

important colors. It is a three-movement
work lasting 13 minutes, with a concise
and urgent opening movement in sonata
form, an intimately expressive slow
movement and a boldly defiant finale that Clarinetfest 2019 and
Clarinetfest 2020
grows from an unexpected gentle opening;
then, through a series of variations, it
transforms back into the material that
opens the work. The coda concludes the
musical argument in a fiery manner rather The ICA board of directors is soliciting the assistance of the general
like the shaking of a fist! membership in identifying potential United States sites for ClarinetFest
Fascinatingly (and possibly uniquely), 2019 and ClarinetFest 2020. In order for the proposal to be considered,
Tim sees this work as part of a grand cycle. all documents must be submitted by the proposed Program Director(s)
The sonatas can be performed singly, and include:
but, much more excitingly, they can be
Cover letter by proposed Program Director(s) stating intent
performed together, rather like Wagners
Detailed biography and contact information for proposed
Ring cycle. The cycle begins with the Wind
Program Director(s)
Quintet, whose ideas influence themes
Three letters of recommendation for proposed Program Director(s)
and motifs in all the sonatas that follow.
Names of proposed artistic team members
Immediately after the opening quintet
Proposed dates, which are typically Wednesday through Sunday, the
comes the more lightweight and quirky
third or fourth week of July
Bassoon Sonata a first scherzo which
Written proof of financial support from various agencies
includes two dance movements. The
Complete addresses and detailed maps of all hotels/dorms and
gentle C major Oboe Sonata acts as a slow
performance/exhibitor venues, including an outline of their proximity
movement. Then, in this highly imaginative
to each other
context, the Clarinet Sonata plays the role
Proposal addressing all site requirements as listed below
of a dramatic scherzo. The Flute Sonata will
constitute the finale of this grand five-work Being sought are locations with the following attributes:
scheme, acting as a point of complete
Performance Spaces Superior acoustical space with multimedia
resolution. The first U.K. premiere of the
capabilities conducive for the presentation of concerts, recitals,
Clarinet Sonata is imminent, after which all
lectures and master classes. Having two or more performance venues
five works will receive a joint performance
in the same location is considered optimal. Minimum capacity of the
as a cycle maybe the first time ever for
large hall should be 1100-1300 seats.
such a musically intriguing and imaginative
Exhibition Space Approximately 15,000 sq. ft. exhibition/ballroom
project. v
space located in or near the same facility where program presentations
will take place. Four additional nearby smaller rooms to be used as
ABOUT THE WRITER instrument manufacturer tryout spaces. All exhibition spaces must
Paul Harris is one have the ability to be secured during non-business hours.
of the U.K.s most Housing Convenient housing (hotel/dorm) with a variety of price
influential music options able to accommodate budgets ranging from students to
educators. He studied corporate executives. Capability to house a minimum of 800 individuals.
the clarinet at the Travel Access to major transportation centers
Royal Academy of (e.g., airports, train stations).
Music, where he won Excursions Interesting tourist activities in, or within the vicinity of,
the August Manns the city/area of venue.
Prize for outstanding Other Incorporation of area musical resources (e.g., professional
performance and where he now teaches. symphony orchestras, jazz ensembles, chamber musicians, military
He is in great demand as a teacher, ensembles) adds greatly to the local experience for those attending
composer and writer (he has written over ClarinetFest.
600 music books and compositions), and Please send proposals electronically with the
his master classes and workshops continue above listed requirements by July 15, 2016 to:
to inspire thousands of young musicians
Caroline Hartig, ICA President
and teachers all over the world in both
hartig.15@osu.edu
the principles and practice of musical
performance and education.
MARCH 2016
Teaching
by Michael Webster
Seventy-second in a series of articles using excerpts from a teaching method in progress by the Professor of Music at Rice University
BRACKETOLOGY
I
n 1985, the NCAA expanded its annual Division I of the trio from the Scherzo of Sibeliuss Symphony No. 2 to
Mens Basketball Tournament to include 64 teams, and demonstrate Tabuteaus system of numbering (Example 1). The
bracketology was born. Competitors in the tournament numbers can indicate dynamics, or a slightly more nebulous
are chosen via a complicated system of seeding, whereby concept: intensity. With nine repeated notes in a row, the phrase
four regions each have 16 seeded teams with No. 1 playing the first cries out for some shaping.
round against No. 16, No. 2 against No. 15, etc. Four more teams Tabuteaus numbering system goes from 1 to 10, so each
were added in 2011, so now the odds for predicting every single adjacent number is a small increment. Within the large crescendo
game correctly among the 68 teams have snowballed to one in written by Sibelius, Tabuteau groups the first three notes with
147.57 quintillion. Bracketology (predicting the outcome of every a small crescendo, then two more groups of three, each an
game) is everywhere during March Madness, as the tournament increment louder than the previous. As a result, we gain the
is colorfully called, and has even invaded the White House, with feeling of the first two quarter notes being a pickup to the third,
Bracketeer-in-Chief Obama posting his predictions annually. happening three times until reaching the climax of the phrase.
For musicians, there is another kind of bracketology: the use Equally important is continuing the same feeling of pickup in the
of brackets to indicate the direction of a phrase. To this day, in second measure by starting the second note with a 1, just like the
my oldest music, I find brackets written by Stanley Hasty (1920- first measure. There is no printed dynamic in the second measure,
2011) from my days of study in the 1960s. In the vast majority of thus the phrasing will be more subtle than in the first measure,
brackets, the first enclosed note is an offbeat. Thus the bracketed but present nonetheless. Another way of describing the phrasing
series of notes has the feeling of anacrusis, or upbeat. is the use of brackets each time a note is softer than the previous
Hastys brackets are similar to the system
of numbers developed by Marcel Tabuteau
(1887-1966), the iconic principal oboist
of the Philadelphia Orchestra. A long-time Symphony No. 2 in D Major, Op. 43
colleague of Daniel Bonade (1896-1976), Mvt. 3 Excerpt
b b b b 12 - - - - - - - - tenuto -
Lento e suave Jean Sibelius
b
3
- - <
Tabuteau was to the oboe what Bonade
was to the clarinet the founder of an Oboe & b 4
American school of woodwind playing P
through his immense influence as a teacher.
1 2 3 2 3 4 3 4 5 3 2 1 1 2 3 2 3 4
The Philadelphia Orchestra legacy
is apparent in Donald Montanaros use Example 1

one. So there would be a bracket before Concertino, Op. 26
the fourth and seventh quarters of the Excerpts
THEME Carl Maria Von Weber
. > > .
first measure and the second and fourth
T
___
quarter notes of the second measure. Andante
>
. J # . . . >
|
&b C
J J J
Rather than using pedagogical examples,
p
lets use three staples of the clarinet
repertoire, all of which serve students as con anima
they evolve from the intermediate to the
Example 2A
advanced level, usually in the mid-to-
late teenage years: Webers Concertino,
Schumanns first Fantasy Piece, and the
Saint-Sans Sonata, first movement. The
> | . . . . . >
Variation I
. | . # . . # . .
theme of the Weber, shown in Ex. 2A, has __
b C n b n
3 3
& J
. . .
3 3
only one bracket, showing how the three
| .
enclosed eighth notes serve as a pickup to
the next bar. Hastys brackets were usually p 3 3 3 3 3
3 3 3
open-ended, but Example 2B will show

Example 2B
an example of shorter, closed brackets.
The note previous to the bracket is soft,
as is the first bracketed note, similar to
the first two notes of the second bar of half bar and crescendo to m. 5. Because the and control of the air stream.
Ex. 1. In fact, there are actually two kinds accompaniment is minimal, the performer Schumanns markings in the first of
of bracket: one in which the first note of doesnt have to decide until the spur of his Fantasy Pieces (Ex. 3A) almost bracket
the bracket is the softest, and another in the moment; any version will sound good themselves. The short diminuendo to G in
which the note before the bracket is the so long as the triplets retain the bracketed m. 2 sets up a bracket on the next note (F).
softest. The difference is subtle, and in fact feeling without accenting downbeats. The The downbeat of m. 5 is like the Weber: a
the whole use of brackets is subtle. They third note of the bracket is the loudest, but long note followed by a short resolution.
indicate small increments in the Tabuteau must be arrived at gradually. Practicing long The printed hairpins take care of m. 5
scale of 1 to 10, so small that they usually
tones with subtly fluctuating dynamics is a and m. 7. The hairpin in m. 8 should
dont warrant dynamic indications by
good way for the student to gain awareness actually extend to the downbeat of m. 9
the composer.
Ex. 2B shows the first variation of the
theme with phrasing brackets. The most
important aspect of this phrase is that "
PHANTASIESTUCKE, Op.73
the second note of mm. 1 and 2 is soft,
Clarinet in A No. 1 Excerpts
to emphasize their relationship to the
|
Zart und mit Ausdruck Robert Schumann
b c
theme. This is not so easy to accomplish!
n
n
(Sweet and expressive)
&bb w
||
Because the note is so much shorter than
p
the first note, significant breath control is
required. One way of practicing is to taper
b .
| . J n | J
the second note and pause before playing
b
&bb j J n b b J J
7
the bracketed notes. Gradually decrease
the length of the pause until the bracket is
n . b
accomplished completely with dynamics.

.
Brackets most often are open-ended,
. n
b n #
J J J J | | .
but with a series of short ones, as in the
&bb
14 || |
case of the second and third measures, we
close them before the next one begins. f
The effect is very similar to that of the
Sibelius groups of three notes, each with Example 3A
poco crescendo, each a little louder than the
previous. The brackets are subtle, and also
. n # | | n |
flexible. One performance could reach a
high point on the B-flat in m. 3, followed
b
&b b c J n
n
by a diminuendo to the downbeat of m. 4,
f
then hairpins up and down in m. 4. Or,
one could make the low A at the beginning
of m. 4 the high point and diminuendo
p cresc.
all the way to m. 5, or diminuendo to the Example 3B

SONATA, Op. 167 is to taper the last note of each so the
Clarinet in B-flat Mvt. 1 Excerpts phrase has continuity during the rests.
When the phrase gets more continuous,
. j . . . j - . . . J J . J
"
Camille Saint-Saens
12
Allegretto
& b 8 .
brackets in mm. 5 and 6 keep the pickup
- feeling alive. Brackets give a phrase
p direction without adding speed. The rests
| . . .
in mm. 16 and 17 are like brackets for
&b j . . j
5
J J J J J .
|

the five pickup notes that follow. Adding
J - . a bracket to m. 15 gives the same pickup
feeling. Another way of describing the
.
- . . J . # J b . . . .
J J J
brackets in m. 18 is that they add lilt. One
b
9
& . J
measure of musical maturity is being able
cresc. F to discard accenting every beat, in this case
. .
thinking of two big beats per bar rather
b . . . . . |
than four.
13
& .
J J . #
The double brackets in mm. 25 to
> dim.
27 are to be avoided for just that reason.
. .
Choose one, keeping the feel of two beats
J J J j . . . j . . . j j j j j
|
&b
17 |
per bar. From mm. 28 to 31, the brackets
are self-explanatory. Diminuendo on a
p dim. downward arpeggio and crescendo on an
2 . . # . | |
|
upward arpeggio can be a clich, but the
. .
|
b #
22
& . .
| 3 | phrasing of mm. 32 and 33 demands that
# # # the middle of each bar be the soft point,
p followed by a bracket with crescendo.
. # |n >
>. . |# . # |n b Brackets are applicable to any music, for
b
28
& .
|
example the Rose 32 and 40 Studies, both
# slow and fast. Etudes serve the purpose
of giving technical challenges that are
# . J J
|
more concentrated and continuous than
#
&b
32
b.
recital music; using brackets in etudes will
help instill the importance of phrasing
in everything a student plays. We want
our students to become bracketeers for
Example 4
sure, but joining in with a prediction for
March Madness is optional.
WEBSTERS WEB
to achieve the proper bracketing. Mm. 14 third measure of Ex. 3B exaggerates the
Your feedback and input to these articles
and 15 supply a new breathing challenge: point. Three brackets would be ridiculous,
are valuable to our readership. Please send
to breathe before the last eighth note of and even two could make the listeners feel comments and questions to Websters
m. 13, keep the next two notes within the lightheaded. Id choose one of the three, Web at mwebster@rice.edu or Michael
phrase, and add a bracket after the first give the previous note a bit of tenuto, Webster, Shepherd School of Music,
note of m. 14. Although not printed, a then lead into m. 4 in tempo. The piano MS- 532, P.O. Box 1892, Houston,
diminuendo across the bar line accomplishes accompaniment stops on the downbeat, so TX 77251-1892; fax 713-348-5317;
that. Similarly in m. 17, the moment the a bit of improvised rubato is appropriate. www.michaelwebsterclarinet.com.
downbeat begins should be the softest For the advancing intermediate student,
Jules Elias writes from Portland, Oregon:
point of the phrase with most or all of the this first movement of the Fantasy Pieces
I seem to remember your advice in
crescendo reserved for the second quarter. works well on B-flat clarinet in B minor response to a letter regarding the use of the
There are two brackets in m. 18, but with two sharps, a version that can be standard fingering for the altissimo high
doing both would be overkill. Choose one found in some editions. G, but have not been able to locate it. I
or the other without necessarily planning The Saint-Sans Sonata (Ex. 4) is would like to try the alternate fingerings,
in advance. Sometimes, especially in surely romantic, but Saint-Sans was particularly as I am preparing both the
romantic music, a bracket is served by stingier with his printed dynamics than Debussy Rhapsody and the Copland
poco tenuto on the previous note. Here, Schumann. With brackets, we can supply Concerto for a performance next spring.
I think tenuto on either the first or fifth the missing dynamics with great nuance. For an 81-year-old born again clarinetist
eighth note is effective, but emphasizing The rests between the first three short who has returned to his first love, playing
both could engender some vertigo. The phrases supply the brackets; our challenge the clarinet, this time of my life has been

greatly enhanced by the clarinet and the doesnt speak quite as well as LH index
music that I never dreamed would be in finger only (without the third finger),
my reach. but the pitch is better (lower). Also try
My answer (abbreviated): Its very nice substituting index and third finger RH.
to hear from you. I cant say that there is Magic! v
a standard fingering for high G because
there are so many. I divide them into ABOUT THE WRITER
5th partial and 7th partial. Both of these Michael Webster is
fingerings have LH thumb and register key
professor of music
engaged plus RH pinky E-flat.
at Rice Universitys
5th Partial favorite: Shepherd School and
LH index finger. It is an overblown artistic director of
B-natural and must be voiced with the the award-winning
throat. It is smooth if you are already in the Houston Youth
5th partial (C-sharp or higher), but wont Symphony. Formerly
speak easily from the 3rd partial (C-natural principal clarinet
or lower). Adding RH fork improves pitch of the Rochester Philharmonic and acting
and response, preferable if the speed allows
principal of the San Francisco Symphony,
it. Fingering the RH fork can be awkward;
he has served on the clarinet faculties
you must place your finger close to the rod.
of Eastman, Boston University, and the
If you hit the ring, it defeats the purpose.
Youll be on the very tip of your finger, so New England Conservatory. A winner
keep the nail cut short. of Young Concert Artists, he has soloed
with the Philadelphia Orchestra and the
7th Partial favorite: Boston Pops and appeared with the Lincoln
LH index and third fingers, RH index Center Chamber Music Society, the Tokyo,
and second fingers. It has good pitch and Cleveland, Muir, Ying and Dover Quartets,
solid tone. It needs a tiny bit of voicing and at many summer festivals.
Clarinet Performance Workshop

May 26-30, 2016, in Bloomington, Indiana
Work with three international performers/teachers in a hands-on approach to clarinet performance
in todays world through a combination of master classes, group lessons, and private lessons.
Refresh your playing with new ways of thinking

about old problems.
FACULTY INFORMATION
HOWARD KLUG
Howard Klug, Professor of Clarinet, Tuition: $600

Indiana University Jacobs School of Music Office of Pre-College
and Summer Programs
Steve Cohen, Professor of Clarinet,
IU Jacobs School of Music
Northwestern University
1201 E. Third Street
Eric Mandat, Professor of Clarinet, Bloomington, IN 47405
Southern Illinois University at Carbondale Web: music.indiana.edu/precollege
E-mail: musicsp@indiana.edu
music.indiana.edu

Historically Photo 2: NMM 5867 Kohlert
clarinet bell signature
by Deborah Check Reeves
Historically Speaking is a feature of The of musical instrument manufacturing

Clarinet offered in response to numerous dating back to the 17th century. It is also
inquiries received by the editorial staff about a short distance from Schneck, home
clarinets. Most of the information is based of Gottlob Hermann Hller who was
on sources available at the National Music highlighted in the previous Historically
Museum, located on the University of South Speaking column (The Clarinet, Vol.
Dakota campus in Vermillion (orgs.usd.edu/ 43/1, December 2015).
nmm). Please send your e-mail inquiries to V. Kohlerts Shne made a variety
Deborah Check Reeves at dreeves@usd.edu.
E
of woodwind instruments including
stablished by three sons of the saxophones, bassoons and flutes, as Photo 1: NMM Photo 3: NMM
well as innovative instruments like the 5867 Kohlert 5867 Kohlert lyre
Graslitz woodwind instrument B-flat clarinet receptacle
maker Vincenz Kohlert, the Saxo-Oboe and Jazz-Klarinette that
V. Kohlerts Shne workshop used saxophone fingering. By 1929, the
started production around 1880. Graslitz firm was considered one of the largest
is the German name for the town of manufacturers of woodwinds. Clarinets,
Kraslice in present-day Czech Republic. of course, were a large part of that
It is only 11 miles from Markneukirchen production. A quick perusal through
in Germany, which has been a center several wholesaler catalogs from the mid-
rjmusicgroup.com Photo 5: NMM 5867 Kohlert

clarinet C-sharp/G-sharp
key extension
...catering to the discriminating Photo 4: NMM
professional and amateur musician.

5867 Kohlert little All photos by Dara Lohnes,
finger rollers and courtesy of National Music Museum,
patent C-sharp key University of South Dakota.

to-late 1930s including Bugeleisen and these features suggest that the clarinet may expropriated and the name V. Kohlerts
Jacobson, Fred. Gretsch Mfg. Co., Carl have been made for military use. Shne discontinued. Later, sometime
Fischer Musical Instrument Co., Inc. and This B-flat clarinet is made in two in 1949 in the former West Germany
the Chicago Musical Instrument Co. pieces a top piece with a barrel and top city of Winnenden, production began
shows a number of models of clarinets joint, and a bottom piece with a bottom again under the name simply noted as
exported by Kohlert. Among the Boehm joint and bell. It has a single-wall bore that Kohlert. v
System clarinets available through Chicago gives it the appearance of a skeleton. To
Musical Instrument Co., for example, are make the tone holes at the proper playing
ABOUT THE WRITER
models from regular through Full Boehm. level, there are raised tone hole chimneys. Dr. Deborah Check
One Albert System model was available Also, its 13 keys use a Simple System Reeves is the Curator
as well. of fingering, often known in the United of Education and
Among the nearly 20 clarinets made by States as Albert System. It is equipped Woodwinds at the
Kohlert in the National Music Museum with rollers between both sets of little National Music
collections is NMM 5867 (Photo 1). finger keys and has a patent C-sharp Museum (NMM) in
Unlike those pictured in the wholesaler key (Photo 4). A distinct feature on this Vermillion, SD, and
catalogs, this clarinet appears not to have clarinet gives it a German characteristic: associate professor at
been made for export to the United States. the C-sharp/G-sharp key has an extra lever the University of South
The bell bears the makers signature: V. that extends downward (Photo 5). This Dakota. She received a doctorate in clarinet
KOHLERTS. SHNE / GRASLITZ / makes an easy trill for the right hand index performance from the University of Iowa.
.S.R. (Photo 2). In German with the finger instead of, or in addition to, the left She plays with the Sioux City Symphony
abbreviation for Czecho-Slovak Republic, hand little finger. This extra lever is not Orchestra and directs Tatag, the NMMs
this clarinet was probably made in 1938- found on Albert System clarinets made by Javanese gamelan performance ensemble.
1939 when the area known as Bohemia was Kohlert for export to the United States. She is a contributing editor to The Clarinet,
essentially under Nazi rule. The clarinet is From 1939 to 1945, Kohlert, like and serves as the ICA South Dakota State
made from metal and has a lyre receptacle most manufacturers, turned to wartime Chair and the Secretary of the American
just above the bell (Photo 3). Together, production. After the war, the firm was Musical Instrument Society.
Crystal Records, 50th anniversary Clarinet Compact Discs

WEBSTER TRIO: Leone Buyse, MITCHELL LURIE: CD301. VERDEHR TRIO. Elsa
flute; Michael Webster, clarinet; Rob- Brahms Clarinet Sonatas 1 & 2; Ludewig-Verdehr, clarinet;
ert Moeling, piano. 3 CDs CD717: plus RICHARD LESSER: Kess- Walter Verdehr, violin; Silvia
Music by Libby Larsen, Sirota, Brandt, ner, Dances for Clarinet & Guitar. Lurie Roederer, piano. Over 220 com-
Toensing, & Schonfeld. CD356: Faur was principal, Chicago & Pittsburgh missioned works for Violin,
Dolly Suite; Saint-Sans, Tarantella; Symphonies; and teacher U.S.C. over Clarinet, Piano; over 80 of them on 22 CDs (see web for
Debussy, Petite Piece, Syrinx; Bizet, 50 years; Lesser was principal Israel Philharmonic for 35 years. complete list.). New Releases: CD971: Daugherty, Ladder to
Jeux denfants. CD357: Dvorak, Slavonic Dances; Debussy, Pe- CD737: Mitchell Lurie plays Halsey Stevens, Concerto for the Moon; plus Madsen, Cohen, & Chambers. CD972: Hutcheson,
tite Suite; Brahms, Hungarian Dances; Gottschalk, Four Pieces. Clarinet & String Orch; Lesemann, Sonata; and Muczynski, Time Nocturnes of the Inferno and Rondo Brillante; plus Madsen, Win-
Pieces.One of the worlds most famous clarinetists Fanfare. kler, & George Gershwin. quality is astonishlngly high STRAD
TRIO INDIANA: James
Campbell, Eli Eban, Howard Klug, LARRY COMBS: CD731. Principal Clari- A sample of other Verdehr Trio CDs: CD741: Bartok, Con-
Clarinets (clarinet faculty, Indiana net 30 years, Chicago Symphony. Rosza, Sonatina trasts; Hovhaness, Lake Samish; Pasatieri, Theatrepieces; plus
University). 2 CDs CD734: Music & Sonata for Clarinet Solo (written for Larry Combs); Mozart & Frescobaldi. CD742: Rorem; Musgrave; David; Vanhal;
by Defaye, Schickele, Kulesha Rochberg & Schuller Trios for Clarinet, Horn, & Liszt. CD743: Schuller; Averitt; Currier. CD745: Arutiunian,
(with David Shea, clarinet, guest), Piano. a showcase for Larry Combs...impressive David, Sculthorpe, Schickele. CD746: Diamond; Sculthorpe;
Kibbe, and Fox. CD736: (with Alfred Prinz, Mitchell Lurie, & virtuosity Fanfare. With Gail Williams, horn. Corigliano. CD748: Triple Concertos, Ott & Wallace. CD941:
Min-Ho Yeh, guests). Music by Prinz, Heiden, Uhl, and Weill. A MELVIN WARNER: CD332. Weber, Fantasia & Rondo, Menotti, Bruch; Constantinides; Deak. CD942: Chihara, Dia-
marvelous group. Skillful musicians...a lovely ensemble of Grand Duo Concertante; Stravinsky, 3 Songs from Shakespeare; mond, Satterwhite, Kramer, Biggs, Erb. CD943: Currier, Tower,
ravishing sounds. American Record Guide. Penderecki, 3 Miniature; Martino, Set for Clarinet; Spohr, Six Ger- Gershwin/Brohn, Welcher, Biggs, Hoag. CD946: Higdon, Sheng,
JONATHAN COHLER: CD733. man Songs; Wm. O. Smith, Five Pieces. One of the finest clarinet Wolfgang, Chatman, Rihm. CD949: Lorenz, Puts, Read Thomas,
Hindemith, Sonata; Honegger, Sonatina; Francaix, recordings I have yet to hear. Audio Magazine. Hoiby, Freund. CD970: Brouwer, Sierra, Wolfgang, Wallace.
Theme & Variations; Vaughan Williams, Six Studies TASHA WARREN: CD739. The MICHAEL EDWARDS: CD735.
in English Folksong; Milhaud, Duo Concertant & Ca- Naked Clarinet, Unaccompanied Clari-
price; Bozza, Pulcinella; Kupferman, Moonflowers Clarinet Sonatas by Saint-Sans, Ladmi-
net: Rozsa, Sonatina; Tower, Wings; Ran, Music rault, & Bjelinski. Martinu Sonatina; Ra-
Baby. playing of real distinction BBC Magazine. for an Actor; Dzubay, Solus II; Yehuda, Three
Preludes; & Larsen, Dancing Solo. Sheer virtu- baud Solo de Concours . Clarinet fanciers
LAWRENCE SOBOL: CD808. Hovhaness, Saturn, will find a treat here. Fanfare Magazine.
for Clarinet, Soprano, & Piano. Also Hovhaness Magnificat for osity International Record Review.
Chorus, & Orch. Saturn is a beguiling hymnal...freshness and ENSEMBLE ISOLA: principals Gran Canaria Philharmonic (Spain) Radovan Cavallin, clarinet; Jose Zarzo, horn; Victor Parra,
vitality. Classic CD Magazine. violin. CD771: Trios: Brahms, Reinecke, Duvernoy. CD772: Czerny; Jenner; Duvernoy. Delightful release...virtuosic. Gramophone.
CDs $16.95. FREE US shipping; $7 Canada; $12 other foreign (mention this ad). FREE CD with each purchase of three
CRYSTAL RECORDS, 28818 NE Hancock, Camas, WA 98607 USA, phone 360-834-7022, fax 360-834-9680
email: order@crystalrecords.com www.crystalrecords.com Many more woodwind recordings; send for free catalog.

Hysterically
by Eric Hoeprich
F
ollowing retirement from a variety of
posts in Paris (pharmacist, publisher,
government official), including
directorship of the Paris Opera from 1831 to
1835, we see the corpulent Louis-Dsir Vron
festooned in the Greco-Roman dress of an
ancient philosopher (his habitual scarf covers a
scrofulous neck), communing with nature while
playing the clarinet. Judging from the reaction
of the dog and various onlookers, it may not
have sounded very good.
Honor Daumiers caricature, which appeared
in the satirical journal Le Charivari (published in
Paris, 1832-1937), marks the occasion of Vrons
withdrawal from civic life in 1852. During his
tenure at the Opra, Vron had promoted works
by up-and-coming composers such as Aubert,
Halvy and Meyerbeer, each a commercial
success. Meyerbeers Robert le diable forerunner
to Les Huguenots (1836), with its famous bass
clarinet solo enjoyed a successful run in 1831.
The rural idyll has long held a special
attraction for the French bucolic settings such
as this, with simple melodies emanating from a
clarinet, perhaps together with a pair of hunting
horns. Despite the satirical tone in the caption
with regard to the clarinet, an instrument Vron
is not actually known to have played (note his
reversed hand position), Le Docteur nonetheless
Doctor Vron, having renounced politics, with its pomp and its labors, has withdrawn to the
appears to have realized a long-awaited period country at Auteuil, surrendering to the enjoyments favored by the ancient Arcadian shepherds:
of tranquility. v the true sage finds consolation in philosophy and a clarinet.

Guido Six October 19, 1955 October 30, 2015
by Eddy Vanoosthuyse and Robert Spring
O
n Friday, October 30, 2015, clarinetist,
educator and director Guido Six was killed
in a tragic accident. He was on the highway
helping his son Jef, who was having car
problems. Both were struck by a truck and died
immediately.
Guido Six began his clarinet study with Roland
Lemaire, clarinetist with the Royal Band of the
Belgian Guides, and continued his musical studies
at the Royal Music Conservatory of Ghent with
Jean Tastenoe, principal clarinet and concertmaster
of the Royal Band of the Belgian Guides. Guido
received his Superior Diploma in the studio of
Freddy Arteel, who succeeded Tastenoe at the Royal
Conservatory of Ghent and who was the principal
clarinet of the Antwerp Philharmonic Orchestra. He
received his masters degree in the studio of Eddy Guido Six
Vanoosthuyse, who succeeded Arteel at the Royal
Conservatory of Ghent (now the University College
Ghent School of Arts). the conservatory performed at the Midwest Clinic
Guido was only 18 when his career began as International Band and Orchestra Conference, the
clarinetist and soloist with the Band of the Belgian Texas Music Educators Association Convention
Gendarmerie. He went on to teach at various and several ClarinetFest conferences. In 2012,
academies, including the Ostende Conservatory Guido was honored with the Midwest Award, a
and the pedagogical department of the Royal major international award at the Midwest Clinic in
Conservatory in Ghent. He succeeded his former Chicago given to very deserving people working in
bandmaster Roland Cardon as director of the music education.
Municipal Music Conservatory in Ostend. Under Since 1996 Guido hosted the Belgian Clarinet
Guidos leadership the number of pupils doubled. Academy each summer. This international academy
He gave the school an international reputation by featured regular faculty members Robert Spring
sending various ensembles to perform abroad and (Arizona State University) and Eddy Vanoosthuyse
by inviting numerous foreign top-level musicians (Royal Conservatories Ghent and Lige; principal
for master classes and concerts. Ensembles from clarinet of the Brussels Philharmonic). Guest

Guido Six, center, with his Claribel Clarinet Choir
professors were Howard Klug (Indiana he took on several concert tours in the
University), Luis Rossi (formerly of the United States. He made beautiful clarinet
Catholic University Santiago), Robert choir arrangements that he published
Walzel (University of Kansas), Julia
Heinen (University of California), Piero
through the music publishing house Six
Brothers, led by his three sons Bert, Jef
Guidos contributions
Vincenti (Conservatory B. Maderna and Tim. He also worked as an arranger
of Cesena) and Deborah Bish (Florida for numerous musicians, including to music and to
State University). Robert Spring, Eddie Daniels, Larry
In those 20 years, hundreds of students
from all over the world attended the
Combs, Eddy Vanoosthuyse, Dirk Bross,
James Cohn, the International Clarinets, his family in the
Belgian Clarinet Academy, traveling from Claribel Clarinet Choir, Ciurlionis String
the United States, Canada, Venezuela,
Colombia, Chile, Argentina, South Africa,
Quartet and the Brussels Philharmonic. clarinet world will
Guidos arrangements for clarinet choir
Australia, China, Korea, Japan, Israel and
almost all countries of Europe. Many of
include:
Toccata and Fugue J.S. Bach
be remembered for
them are now soloists with orchestras or
Concerto Grosso Antonio Vivaldi
working on an international solo career. In
addition, Guido guided the Conservatory
Concertino Carl Maria von Weber generations to come.
Concerto Aaron Copland
at Sea as one of the very first Belgian
Concerto Johann Melchior Molter
schools in the digital age.
Double Concerto (both concertos)
Guido was a superb organizer.
Franz Krommer
In 1993 along with Freddy Arteel he
Double Concerto (2 violins) J.S. Bach
organized the ClarinetFest in Ghent, a
Till Eulenspiegels lustige Streiche in multiple ClarinetFest conferences.
project he repeated in 1999 in Ostend.
Richard Strauss Later he became a professional musician,
He was in the initial stages of planning
Perpetuum Mobile Niccolo Paganini a teacher at the Conservatory at Sea, and
another ClarinetFest in Ostend for 2018,
Springtime dedicated to Robert a freelancer, especially in the jazz world.
a project which will be taken on by
Spring He played trumpet, flugelhorn and double
Eddy Vanoosthuyse with help from the
Ave Maria Giulio Caccini bass and was conductor of the Six OClock
Six family.
Guido Six also helped promote All arrangements are edited by Six Jazz Band. He was married to Nina
music in the amateur world. He was a Brothers Media (www.sixbrothersmedia. Cobbaert and had two children, Louis and
member of the Royal Music Association com). Jazz, the youngest only 1 year old.
of Belgium and served as its president. Guido Six was a real family man who The commitment and dedication of
Later, he became the president of the lived for his wife Chantal, children and Guido Six will be missed, not only by
amateur musicians organization Vlamo grandchildren. Chantal loses not only her the Conservatory at Sea, but also in the
West Flanders. He conducted a number of husband but also her son. Jef Six, born in numerous projects and organizations with
groups including the Royal Band Onder Kortrijk, Belgium, on May 9, 1980, was which he worked. Guidos contributions
Ons in his hometown of Wervik, Belgium. as a child connected with Claribel. When to music and to his family in the clarinet
One of the projects close to his heart he was very young he did his first concert world will be remembered for generations
was his Claribel Clarinet Choir which tours with the group and later performed to come. v

Chicago
I learned that Revelli first met Frank L.
when Revelli was band director at Hobart
The
High School in Hobart, Indiana (1926-
1935). Although Frank L. Kaspar did not
normally repair instruments for public
schools, Revelli persuaded him to work
Mouthpiece
Legacy
on the Hobart High School instruments
by promising that the same repair would
never need to be done a second time!
Anyone having met William Revelli
Part IIb would not be surprised that the promise

was kept. Apparently Revelli also made
use of Kaspar clarinet and saxophone
mouthpieces. Although Revelli left Hobart
by David Tuttle for Michigan in 1935, he never forgot
Frank L. Kaspar. Fifteen years later, with
encouragement from both Stubbins and
Revelli, Frank L. Kaspar settled in Ann
FRANK L. KASPAR IN ANN ARBOR, 1950-1978 Arbor and his 1915 Morton address
A
t the end of Part IIA, the year was 1950, a turning became a haven for clarinetists. For
point for the Kaspars. For 30 years, cousins Frank everyone from students to professionals,
& Frank L. Kaspar had worked side by side, first he repaired instruments and made
as employees of Arthur Goldbeck and then as hundreds of mouthpieces. Perhaps we
partners. Although both Kaspars worked in Chicago for over should begin with Frank L. Kaspar
30 years, they are both known primarily by the city/town to the repairman.
which they relocated: Frank to Cicero, Illinois, and Frank L. In Part I of this series, we learned that
to Ann Arbor, Michigan. Frank L. may have joked that this for both Kaspars, mouthpieces became
was his retirement, but at age 62 the move to Ann Arbor kept the tail that wagged the dog. The
him very busy for the next 26 years. shops of Oscar Bauer, Arthur Goldbeck
One of the joys in researching a project of this kind is and the Kaspars were primarily in the
communicating with members of the worldwide clarinet business of making, selling and repairing
community. For this article I am grateful to the following: woodwind instruments. These skills were
Donald Montanaro (Philadelphia Orchestra, 1957-2005), learned from scratch. Repairmen had
Stanley Drucker (New York Philharmonic, 1949-2009), John to be toolmakers, welders, carpenters
Mohler (professor of clarinet at the University of Michigan, and craftsmen of the highest nature. One
1962-1994), Fred Ormand (professor of clarinet at the example of this old-world craftsmanship
University of Michigan, 1984-2007), Dr. John Wesley (who can be found in the instrument pads
worked for Frank L. while in high school, first mowing his made and used by the Kaspars. Figure
lawn, then making clarinet pads!), and Charles Colbert, 2 demonstrates the care and attention
clarinet student at the University of Michigan in the 1950s the Kaspars gave to their work. The
and 60s, who later taught and played professionally. materials shown are from the 1930s.
The move to Ann Arbor was no coincidence; two very To the right is a miniature catalog of
important people at the University of Michigan figured into leather samples used in the production
the decision. The pictures in Figure 1 are signed photographs of organ pipes. Several were suitable for
of William H. Stubbins (professor of music and clarinet saxophone pads and leather pads for other
instructor) and William D. Revelli (professor of music and woodwind instruments. The last sample
director of bands). In conversations with the above sources, on the bottom right is marked Zephir

the Kaspars, and today by Brannen
Woodwinds of Evanston, Illinois, and
Sayre Woodwinds of Lombard, Illinois.
I have seen clarinets with original Kaspar
pads that still hold a perfect seal after
more than 50 years. In recent years, I
have also seen several more convenient
methods of clarinet padding. These
items and other valuable information are
courtesy of Dr. John Wesley.
Wesley was a student of William
Stubbins while attending Ann Arbor High
School, and sat second chair in the concert
band next to first chair Peter Hadcock,
also a Stubbins student. From 1957 to
1963, Wesley made pads (and was paid
ten cents apiece!) for Frank L. Kaspars
clarinet overhauls. Wesley related that
the felt and zephyr skins were the middle
and top of the pads. For the base, only
Figure 1: William H. Stubbins and William D. Revelli
the sturdy water resistant cardboard from
U.S. Post Office parcel post address tags
would do! Peter Hadcock went on to the
Eastman School of Music and 25 years
Skins. These skins, harvested from the from two felt manufacturers. Felt such with the Boston Symphony. John Wesley
underside of sheepskins, were used for as this formed the heart of clarinet pads did not follow Peter Hadcock in his choice
clarinet pads. On the left are samples that were handmade by Bauer, Goldbeck, of career, and, with Frank L. Kaspars
Figure 2: 1930s catalog of materials used to make clarinet and

saxophone pads

The entire
Philadelphia
Orchestra clarinet
section made regular
visits to the Kaspar
home during the
orchestras May
Festival concerts in Figure 3: Four Kaspar Ann Arbor B-flat clarinet mouthpieces
Ann Arbor to have

their clarinets and encouragement, went to Harvard Medical
School and became a pediatric surgeon.
mouthpieces all have tip openings of less
than 1.1 mm. It is known that Frank L.
mouthpieces adjusted. On to the mouthpieces!
Figure 3 shows four Kaspar Ann
Kaspar also made mouthpieces for bass
and E-flat clarinet, but I have not been
Arbor B-flat clarinet mouthpieces, each able to locate any.
with the star and SUPERB marking Although these articles are meant to
from the days of Arthur Goldbeck. The be historical, not technical, some basic
terms are useful when comparing the Ann
Arbor to the Chicago (after 1950)/Cicero
mouthpieces. The first question most
people ask when comparing mouthpieces
is what is the tip opening? This refers to
the distance between the tip of the reed
and the tip of the mouthpiece. Although
only one small part of a mouthpieces
specifications, it is a good place to start.
In general, the wider the tip opening, the
softer the reed.
When both Kaspars worked in
Chicago, their mouthpieces usually had
tip openings of 1.1 mm or more. When
Frank L. Kaspar moved to Ann Arbor,
his mouthpiece tip openings were closer
to 1 mm. The question is why? Strangely
enough, one answer may be geographical.
Figures 4 and 5 are representative of
the players who visited Frank L. Kaspar
in Ann Arbor. The following are the
original facings in his handwriting. In each
case, the top number is the tip opening.
For example:
Figure 4: Mouthpiece facing measurements for Anthony Gigliotti, Donald Montanaro, Harold Wright Anthony Gigliotti three
and Peter Hadcock measurements all close to 1 mm

true that many of their mouthpieces were
made from blanks ordered from some of
the major mouthpiece makers (Riffault,
Sumner, Babbit, etc.), but an equal
number were made from those named
Selmer, Buffet, Vito but I am getting
ahead of myself. More on this in Part III!
Figure 6 shows two parts of a series
of original handwritten diagrams and
instructions that apparently are the
beginnings of a manual on mouthpiece
refacing. These documents are
informative, instructional and, in a way,
very poignant. What a treasure it would
be to have a complete manual on the art
and science of mouthpiece facing and
adjusting by Frank L. Kaspar. According
to Rick Sayre, The main idea in all
these papers (over 15 drawings with
instructions) was to make a systematic
Figure 5: Mouthpiece facing measurements for Keith Stein and Stanley Drucker; Frank L. Kaspars
procedure to get a consistently flat table.
handwritten business card
Panel 2 reads as follows: With short
strokes up and down move mouthpiece
up with tip until the star comes even line
Donald Montanaro 1 mm but the decades of experience that went B then one long stroke down with cork
Peter Hadcock 1.07 mm into each mouthpiece. The Kaspars end. Panel 3 reads as follows: Start from
Harold Wright 1.03 mm mouthpieces were not formulaic. It is A the first ligature line with short strokes
Keith Stein 1.07 mm
Stanley Drucker 1.13 As usual,
Stanley is the exception that
proves the rule!!
Both Fred Ormand and Donald
Montanaro emphasize the influence
of Anthony Gigliotti (the Philadelphia
Orchestras principal clarinetist from 1949
to 1996) on Frank L. Kaspars mouthpieces.
In fact, the entire Philadelphia Orchestra
clarinet section made regular visits to the
Kaspar home during the orchestras May
Festival concerts in Ann Arbor to have
their clarinets and mouthpieces adjusted.
In Chicago and Cleveland, Clark Brody
and Robert Marcellus went to the other
Kaspar. Rick Sayre, the only mouthpiece
apprentice of cousin Frank Kaspar (Cicero),
referred to this as the the Midwest vs. the
East Coast.
It would be very convenient to group
clarinetists and the mouthpieces they
played on into one neat package, but
the truth is that styles, players, clarinets
and mouthpieces change with the times.
Several of the players listed above visited
both Kaspars as well as other makers.
What separates the Kaspars from many
other makers is not only the pride and
dedication they brought to their work,

Figure 6: Mouthpiece diagrams and instructions by Frank L. Kaspar Figure 8: Frank L. Kaspar and his prayer card
go forward with tip until the star (B) with long strokes and added preasure [sic] again, my thanks go out to John Wesley
comes in line with top edge of paper. Then forward with cork end and repeat. Once for supplying these original documents;
hopefully, some time in the near future
they can all be published.
From 1950 to 1978, Frank L. Kaspar
worked for hundreds of clarinetists:
students, amateurs and professionals.
Figure 7 is a wonderful picture of Frank
L. Kaspar in his Ann Arbor workshop. In
1978, after the death of his wife Mary,
he moved to the Chicago suburb of
Riverside, Illinois. He lived there for about
one year with his grandson Joe Kubic and
his family. On August 8, 1979, Frank L.
Kaspar, pictured in Figure 8 next to his
prayer card, passed away.
Perhaps there is no more fitting tribute
to this craftsman than his own words from
a 1962 interview in the Ann Arbor News:
People come to me once in a
while and say Frank, why do you
do things this way, so strenuous
and time-consuming? I tell them I
learned this way and I wont change.
When I make something and see
that it works, its worth it.
On to Part III; Frank Kaspar of
Figure 7: Frank L. Kaspar in his Ann Arbor workshop Cicero. v

ICA ANNOUNCEMENT
2016 High School Solo Competition

Eligibility: Competition participants must be 18 years old or younger as of June 30, 2016.
Application: Deadline for the submission of application and other application materials is: Friday, April 1, 2016. Please submit
the online application at www.clarinet.org
High School Solo Competition Coordinator: John Warren jwarre35@kennesaw.edu
CONTEST RULES JUDGING

1. Application Fee: $65 USD. All applicants must be Judging of recordings will be conducted with no knowledge
members of the ICA and submit the Competition of the contestant. Do not include any identification on your
Application. Non-members wishing to apply may join audio files. There should be no speaking on the recording,
the ICA by going to www.clarinet.org and becoming a such as announcing of compositions. Preliminary judging will
member. The application fee is non-refundable. be by taped audition. Finalists will be chosen by committee.
Notification will be sent by Friday, May 6, 2016. The final
2. Recording Instructions: Please provide a high quality round will be held at ClarinetFest 2016 in Lawrence, Kansas,
recording containing the following repertoire in the August 3-7, 2016. Repertoire will consist of the works listed in
exact order listed. Repertoire must be recorded with item 2. Memorization for the final round of competition is
accompaniment when appropriate. Any published not required.
edition is acceptable. Each selection/movement should
be listed as a single track, and should not contain your Past first-prize winners are not eligible to compete. All
name. Please be aware that the quality of the recording contestants will accept the decision of the judges as final.
will influence the judges. Recordings should not be The ICA will provide a pianist for all finalists. All finalists will
edited and only continuous performances of entire works receive free registration at ClarinetFest 2016. Travel and
or movements are allowed. other expenses will be the responsibility of the contestant. All
a. Bla Kovcs, Hommage J. S. Bach and Hommage recordings will become the property of the ICA and will not
M. de Falla (play both on B-flat clarinet) be returned.
b. Henri Rabaud, Solo de concours, Op. 10

PRIZES
3. A photocopy of the contestants drivers license,
First Prize $1,000 U.S.
passport or birth certificate as proof of age.
Second Prize $750 U.S.
4. Both the private teacher, if any, and the contestant attest
Third Prize $500 U.S.
in a separate written and signed statement that the
recording is the playing of the contestant and has not
been edited.
5. A summer address, telephone number and e-mail

address should be provided. E-mail is the preferred
means of communication. Please check your email
regularly as this is how you will be contacted.
The International Clarinet Association 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.
Theodore Johnson:
REMEMBRANCES AND RECOMMENDATIONS
by Dennis Nygren
T
heodore Ted Johnson is best known for
Photo Courtesy of Theodore Johnson

serving 36 years as principal second clarinet and
E-flat clarinet with the Cleveland Orchestra.
He also performed with the Cleveland Pops
Orchestra, the Kansas City Philharmonic, Kansas
City Lyric Opera, Santa Fe Opera, and the Casals
Festival, and early in his career with the Chicago
Symphony and the orchestras of Grant Park
(Chicago) and the Ravinia Festival. Chamber music
performances included those with the faculty at
the Cleveland Institute of Music, the Cleveland
Orchestra Woodwind Quintet, the Venner Ensemble,
Santa Fe Chamber Music Festival, and ten years
with the Cleveland Octet, to name a few. A highly
regarded teacher, Ted held positions at the Cleveland
Institute of Music (1960-1996) and Cleveland State
University (1982-2012), as well as the Kansas City
Conservatory of Music, the University of Akron,
Case Western Reserve University, Baldwin Wallace
College, the Kent/Blossom School and the Cleveland
Music School Settlement.
Born in Chicago on January 24, 1930, Ted was
raised on the Near West Side of the Windy City.
Although neither of his parents was particularly Theodore Ted Johnson
musical, they encouraged young Ted, and he began
playing the clarinet at age 9. His first teacher, Lew
Honig, was a number-one sideman in Chicago, and
his teaching stressed the basics, particularly hand After high school, Ted enrolled at DePaul
position. Shortly after the Depression and with University to study clarinet with Jerome Stowell.
jobs hard to come by, especially for young people, Stowell was the assistant first and E-flat clarinetist
Ted practiced clarinet quite hard, sometimes for of the Chicago Symphony, and was known for
several hours a day. He eventually attended Harrison his facile technique and excellent E-flat clarinet
Technical High School, the school from which Benny playing. From him, Ted learned a great deal
Goodman had graduated in 1922. He also performed concerning orchestral performance emphasizing
in both the Chicago Catholic Youth Organization symphonic excerpts and the importance of
Band and the Chicago Youth Orchestra. accurate rhythm, intonation and good mouthpieces.

During this time, Ted played principal recordings of Ravels Piano Concerto in
Photo Courtesy of the Rosenthal Archives, Chicago Symphony Orchestra

Photo Credit: Kaufmann & Fabry
clarinet and some E-flat with the Chicago G and Stravinskys Le sacre du printemps
Civic Orchestra, which was considered (1969 and 1991 versions).
a feeder orchestra for the Chicago I had the opportunity to interview
Symphony. This experience prepared him Ted Johnson about his career and his
for playing with the Chicago Symphony recommendations for aspiring orchestral
and paved the way for opportunities with clarinetists.
the Grant Park Orchestra and the Ravinia
Festival Orchestra. DENNIS NYGREN: Ted, how, at the age
From 1951 to 1958, Theodore of 9, did you end up choosing the clarinet
Johnson held the position of second as an instrument?
and E-flat clarinet with the Kansas City THEODORE JOHNSON: Well, it truly
Philharmonic. He gained much experience wasnt very scientific. My mother took
in Kansas City and truly refined his me to a department store the Boston
chops on E-flat clarinet. During Store where they had a small section
this time, he also served as director of of instruments. I honestly didnt have
woodwind teaching in the Kansas City any idea of which instrument to choose
school system. In the latter part of his at first, but as I thought about it, I
Kansas City tenure, he was hired to play remembered that Benny Goodman was
principal clarinet in the Kansas City Lyric from the very area in Chicago where
Opera and the Santa Fe Opera, and also I was raised; he was very famous at
performed at the Santa Fe Chamber that time and I admired him, and so I
Music Festival. thought, why not the clarinet? Jerome Stowell in 1954
A great opportunity arose when the
position of second/E-flat clarinet became DN: Could you tell me about your first
open in the world-renowned Cleveland teacher, Lew Honig?
Orchestra. Ted won the audition and held TJ: When you purchased an instrument DN: Wow, thats a great deal of practice for
the position for 36 years, from 1959 to from the Boston Store, you would a young boy!
1995. He experienced the final 11 years receive 10 free lessons. Lew was the TJ: Yes, but this was shortly after the
of the George Szell era, often referred to teacher, and he had an excellent Depression, so I couldnt find a
as the Golden Age of the Cleveland reputation performing with swing summer job. Practicing was something
Orchestra. Before his retirement, Ted bands in the Chicago area. I remember I enjoyed and it gave me a sense of
would work under the batons of Musical he was a chain cigarette smoker accomplishment.
Directors Lorin Maazel and Christoph this wasnt uncommon in those days
von Dohnanyi, Music Advisor Pierre so much so that his fingers were DN: Do you recall what solos you performed
Boulez, and an impressive list of some of yellow. Anyhow, he taught me some with your high school band, or anything
the greatest guest conductors in the world. basic techniques, but as our lessons special concerning your membership in
One would be hard-pressed to find progressed, I guess I improved to a the Chicago Youth Orchestra?
better sounding orchestral clarinet point where he told me he couldnt TJ: With my high school band, I
duets than those by Robert Marcellus teach me anymore, and to find a remember playing Bassis Concert
and Theodore Johnson in, for example, different teacher. Fantasy on Motives from Verdis
Beethovens Symphony No. 9, Dvoraks Rigoletto and the Erwinn Fantasia
Symphony No. 8, The Hebrides Overture DN: Do you have any specific remembrances by Meister. As for the Chicago Youth
by Mendelssohn, Perpetuum Mobile by as to your practice as a youth? Orchestra, this was my first orchestral
Johann Strauss, Jr., several of the Strauss TJ: I had a special relationship with my experience, and the orchestra was quite
waltzes, and Piano Concerto No. 3 by Czech grandfather on my mothers good, having personnel drawn from
Prokofiev all conducted by George side. During the summer, we would get Chicago and Chicago suburbs. I recall
Szell or Rhapsodie espagnole conducted up and have some breakfast, and then doing a summer retreat with the group
by Pierre Boulez. Theodore Johnson was about 9 a.m., I would begin practicing in Champaign-Urbana.
also regarded as one of the premier E-flat clarinet, sitting next to him while he
clarinetists of his generation. Superb read his Czechoslovakian newspaper. DN: What do you remember about Jerome
examples of his performance may be Wed take a break around noon for Stowell and your music study at DePaul
heard in Szells recording of the Prokofiev lunch, and I would resume practicing University?
Symphony No. 5, Szells and Lorin Maazels in the afternoon, while he filled his TJ: Jerry Stowell was an energetic,
recordings of Ravels Daphnis et Chloe, long cherry-wood, silver-bowled pipe intelligent (he held degrees in
Maazels complete Romeo and Juliet ballet with tobacco and enjoyed a leisurely philosophy and accounting) and
by Prokofiev, Ravels Bolero conducted by smoke. Sometimes Id practice the uplifting individual, in addition to
Christoph von Dohnanyi, and the Boulez remainder of the afternoon. being a wonderful clarinetist. His

25 weeks. To make a living, I had to

seek other employment. I worked for a
while in a flower farm and then, because
I had done a fair amount of dance
band work in Chicago, I performed
in the biggest show band in town,
playing saxophone, flute and clarinet.
We played for big names Jack Benny,
Louis Armstrong, Liberace, Henny
Youngman, Hoagy Carmichael, etc.
DN: Would you please describe your

audition for the Cleveland Orchestra?
TJ: I remember arriving at Severance
Hall quite early, around 9 a.m. on, I
believe, a Wednesday. It seemed like I
waited forever for my turn. Eventually
I was brought up to the middle of
the stage at Severance Hall, and the
librarian placed a stack of music in
front of me. George Szell came up on
stage and sat down next to me. He was
apparently looking for a team player,
Ted Johnson and Robert Marcellus someone who he could trust to be
loyal to him and the orchestra, so he
asked me some questions. He asked me
what book I was currently reading. I
enthusiasm for music and life in for a lesson?). Well, he called me the answered with The Brothers Karamazov
general kind of rubbed off on me, and I next day, very mad; it so happened he by Dostoyevsky. He seemed pleased by
wanted to be just like him. Inspired by didnt wake up until 4 a.m.! Ill always that, so then he looked at my clarinets
him, I practiced harder that is, more remember Jerry fondly, and regret that and noticed that they were Leblanc
seriously and in greater detail. he passed on from cancer before he clarinets, not Buffets. He asked me why
I do recall one funny story from our could enjoy his retirement. I played them, so I told him that I felt
teacher-student relationship. He always they were often better than Buffets, and
taught me as his last student for the day, DN: What about the years in Kansas City? that they had helped me hold my job
I think so he could give me more time, TJ: This was a very good orchestra, in Kansas City.
if necessary. One particular time our conducted by Hans Schwieger. Many George Szell returned to the hall,
lesson was in the evening, perhaps 8 or fine players performed in Kansas City sitting with the audition committee,
9 p.m. He had had a long day, and he before getting major orchestra jobs. with the exception of assistant
asked me if Id mind if he laid down on Two that come to mind are Dale conductors Louis Lane, Michael
the couch in his studio while listening Clevenger and Donald Peck of Chicago Charry and Robert Shaw, who were
to me. I had my back to him, and after Symphony fame. I performed in the seated in different parts of the balcony.
playing something rather lengthy and Kansas City Philharmonic Woodwind This was so they could report back to
having not heard any response from Quintet with Donald, longtime CSO Szell as to how an applicant sounded
him, I turned around to find him fast principal flute. from various distances.
asleep. I didnt want to wake him, so I Unfortunately, back in the 1950s Like most auditions today, the first
part of the process was to perform a
placed the $3 for the lesson on his chest when I performed in Kansas City, the
concerto of the players choice, and
and left (can you imagine paying $3 season was fairly short perhaps 20 to
I had chosen the Mozart Concerto in
A. After having performed parts of
the Mozart, George Szell asked me to
perform an excerpt, so I played the solo
George Szell ran up on stage, shook my hand from Night on Bald Mountain.
Having gotten that far, Robert
and said, Dont go away. Ill get the manager Marcellus joined me on stage to
perform several orchestral duets to
down here right away for you to sign a contract. see how I would blend, balance and
tune with him. I remember he would
The rest of the auditions were canceled. sometimes slightly change his pitch, his

FACULTY ARTISTS AT PEABODY
Boris Allakhverdyan Anthony McGill Eugene Mondie

is principal clarinet in the is principal clarinet of the New is currently the assistant principal
Metropolitan Opera Orchestra York Philharmonic. He previously and E-flat clarinetist with the
and Peabodys newest faculty served as principal clarinet of the National Symphony Orchestra
artist. He is a founding member Metropolitan Opera Orchestra and in Washington, D.C. He has also
of the Prima Trio, winner of the associate principal clarinet of the served as principal of the Spokane
2007 Fischoff National Chamber Cincinnati Symphony Orchestra. Symphony and Orchestra
Music Competition. Ensemble Kanazawa.
Peabody boasts a preeminent faculty, a

collaborative learning environment, and the
academic resources of one of the nations
leading universities, Johns Hopkins.
peabody.jhu.edu
667-208-6600
Like us on Facebook @george_peabody
timbre, or his style, just to see how I

would react.
Finally, I was asked to perform on
the E-flat clarinet. The first selection
was Daphnis et Chloe. Then I was asked
to perform perhaps the most famous
of E-flat clarinet orchestral parts, that
of Richard Strausss Till Eulenspiegels
Merry Pranks. I played it to the best
of my ability, and was surprised when
George Szell ran up on stage. He shook
my hand and said, Dont go away. Ill
get the manager down here right away
for you to sign a contract. The rest of
the auditions were canceled. I guess he
felt he had found his man.
DN: What was it like playing in the

Cleveland Orchestra for 36 years?
TJ: It was definitely a life-altering
experience. First of all, we often
traveled four to six weeks a year. In my
time with Cleveland, I performed in
every state, in all of Europe including
Russia, in Japan and Korea, in
Australia and New Zealand, even in
South America. Wed be welcomed by
dignitaries of various countries, wed
be invited to various embassies, and we
were treated like very important people.
George Szell was an excellent
conductor and musician. He could
have been a concert pianist. But, he
was very demanding. You may have
heard the statement that the Cleveland
Orchestra plays seven concerts a week,
but only two of them for the general Cleveland Octet: Eric Eichhorn, violin; Boris Chusid, violin; Edward Ormand, viola; Gary Stucka, cello; Ted
public. This was so true; when it came Johnson, clarinet; George Goslee, bassoon; David Glazer, horn; Scott Haigh, double bass
to the Monday morning rehearsal, you
had to be totally prepared.
Concerning the quality of the
orchestra, there can be no doubt that still recording a great deal of classical DN: When you perform with a world-class
it was one of the great orchestras music. I was so fortunate; times are so orchestra, world-class conductors want
in the world. My colleagues were different today. We recorded for Epic to conduct your ensemble. Do you recall
superb. Szells concept was that of 100 and Columbia under Szell. Many of some of them?
musicians performing chamber music. these recordings are now available on TJ: Yes, there were legendary older
Blend, balance, tone quality, intonation, Sony. For Maazel we often recorded conductors, such as Leopold Stokowski,
musicianship it was all there. If you on the London label, and for von Pierre Monteux, Eugene Ormandy and
had an incidental solo in the music, Dohnanyi on Telarc. Pierre Boulez William Steinberg, composers such as
you never had to force your tone to recorded for Deutsche Grammophon. Igor Stravinsky and Aaron Copland;
be heard. If a string player moved on I was involved in Beethoven cycles others included Leonard Bernstein,
to another top-notch orchestra, it was for Szell and von Dohnanyi, and Karel Ancerl, Istvan Kertesz, Russian
often to be a principal player. Brahms cycles for Szell and Maazel. conductors Kirill Kondraskin and
Szell recorded a great deal of Haydn, Gennady Rozhdestvensky, and movie,
DN: What about the many recordings you Mozart, Beethoven and Schubert, and television and popular composer Henry
made under Szell, Boulez, Maazel, von von Dohnanyi and Szell recorded much Mancini. Also, we did a significant
Dohnanyi and others? Dvorak. Under Boulez, we recorded amount of work with Pierre Boulez.
TJ: During my years in the Cleveland much Debussy, Ravel and Stravinsky. It The list of guest conductors was so long
Orchestra, record companies were was all rather overwhelming. and impressive.

Kansas City and Santa Fe, but it was

during my Cleveland years that these
experiences were truly special. For
example, I performed many concerts
with the faculty of the Cleveland
Institute of Music, and ten years
with both the Cleveland Orchestra
Woodwind Quintet and the Cleveland
Octet. With the Octet, we would
perform major works; for example we
performed and recorded the Schubert
Octet. In addition to the larger chamber
ensemble music, I performed all the
clarinet quintet repertoire. Later in
my career, I founded and managed the
Venner Ensemble, which performed
much trio literature, and I toured Ohio
with the Martin String Quartet of
Venner Ensemble: Arthur Klima, viola; Eric Ziolek, piano; Diane Mather, cello; Eric Eichhorn, violin; Ted Prague in 2001.
Johnson, clarinet
DN: What kind of clarinets and accessories
did you play during your career?
TJ: Jerome Stowell had a preference for
DN: I know you love performing chamber deal of chamber music with many Leblanc clarinets when I studied with
music involving the clarinet. Please high-quality players, which made him. I honestly felt at that time in
elaborate. the experiences especially rewarding. the late 1940s and early 1950s that
TJ: During my career I performed a great I played chamber music early on in Leblancs were better than most Buffets.
I had a good set of Leblanc clarinets on
which I performed in Kansas City and
my early days in Cleveland. I eventually
switched to Buffet clarinets on B-flat
The NEW and A, in part because that was Robert
Marcelluss choice of horns. On E-flat,
I played the same Selmer E-flat clarinet
throughout my career.
As for mouthpieces, I played a
Kaspar mouthpiece on B-flat and A,
and a Stowell-Wells-Schneider on E-flat
Evolution of the clarinet pad has led to the clarinet. Much later, when Franklin
Cohen held the job of principal and
Valentino Masters Series. played Pyne mouthpieces, I switched
Completely waterproof to a Pyne, including on the E-flat. This
Firm, stable light touch
was all part of the job of being a good
second clarinetist.
Ultimate air-tight seal
Enhanced tonal color
DN: You dedicated a good deal of your
career to teaching. Please comment on
Bring out the best in your these experiences.
instrument with TJ: Ive enjoyed many years of teaching
and I feel this is something that keeps
you feeling young; when working
with young students desiring to learn
and develop, you actually develop
yourself, trying to help them with
www.jlsmithco.com their problems. I taught, early on, at
www.valentinopads.com the Kansas City Conservatory, many
800.659.6073 years at both the Cleveland Institute of
Music and Cleveland State University,

at the University of Akron and Baldwin intimately. You must know the basic required when performing concert
Wallace College, and the Cleveland repertoire Till; Daphnis; Prokofiev, programs.
Music Settlement. Mahler and Shostakovich symphonies;
Stravinsky, Ravel piano concertos; etc. DN: Thank you so much, Ted. Representing
DN: Would you tell us something about your You should have various fingerings The Clarinet journal, I want to wish you
clarinet accessories business? for each pitch in the altissimo register. and your wife Sheila the very best health
TJ: At least ten years ago I was encouraged You never know when a situation will and happiness. v
by one of my former students and call for a sharper or flatter fingering.
currently a music store owner James
Ive always thought of the E-flat ABOUT THE WRITER
Stahl to consider such a business.
clarinet as an extension of the B-flat, Dennis Nygren has
I did a lot of experimenting with
so you should strive for a darker contributed eight
mouthpieces, finally finding a facing
sound. It doesnt have to be thin and articles for The
that suited me well, as well as one
excessively bright. A good mouthpiece Clarinet. Dr. Nygren
that I felt would satisfy students and
is very important in ones level of is the former professor
professionals. We make plastic student
success on the E-flat clarinet, and a of clarinet at Kent
mouthpieces, reasonably priced, which
mouthpiece with wider rails will give State University,
I feel are the best student mouthpieces
on the market, and more expensive you a darker tone. I also recommend having also taught at
hard rubber mouthpieces for the practicing scales, such as those found Northern Michigan,
serious student or professional. in Baermann, just like you would on Baldwin Wallace, Cleveland State and
Our ligatures, based after the old the B-flat or A clarinets. I recommend, Oakland universities. He remains active
Kaspar model, come in both nickel for example, that you play a C major as a professional clarinetist and teacher in
and silver the silver producing a scale on the B-flat clarinet, then do the Northeast Ohio and lives in Silver Lake,
slightly darker tone. Our neck strap same thing on the A, and finally on Ohio, with his wife Nadine and their four
was designed to relieve the right thumb the E-flat. This will help you develop dogs. Also an arranger, he may be heard
pressure from holding a clarinet, and the flexibility to change from one on his CD A Clarinet Collective (Albany
to be as comfortable as possible around instrument to another, which is often Records, Troy 1330).
the neck.
DN: Would you please comment on the art

of playing second clarinet?
TJ: Well, to win a position in a great
orchestra you must be willing to
ARTIST
practice your tail off! As a member GRADE
of a professional orchestra, you must REPAIRS
be very precise concerning rhythm,
intonation, and technique. As for
second clarinet, your job is to make
the first clarinet sound good. You
cannot overblow and you must quickly
learn the principal clarinetists body
language, as well as knowing the
tendencies of the first player regarding
intonation, trying to match his or her Trust Your Clarinet to Experienced Hands
sound, and so on. Some second clarinet
parts can be more difficult than the first PERSONALIZED PAD CHOICES COMPLETE MECHANICAL REBUILDING CUSTOM KEYWORK
parts, for example the Scherzo from FINEST CRACK & TONE HOLE REPAIR SOLUTIONS VOICING & TUNING
A Midsummer Nights Dream or parts of
I have been repairing clarinets now for over 35 years and working professionals have trusted me with their
Daphnis and Chloe. So you must know
instruments since the early 1980s. I take great pride in my work and have developed and maintained the skills
the second clarinet repertoire. of an advanced craftsman along with the desire to continually learn and improve. As a clarinet and bass clarinet
specialist I have rebuilt literally thousands of instruments and worked directly with many world class musicians.
DN: What particular skills must one develop Insights gained from extensive manufacturing experience have provided me with a unique range of skills and
to excel on the E-flat clarinet? techniques in the maintenance of your personal instrument. Our workshop utilizes precision tooling, select
TJ: First, look for a teacher who has been equipment, and original parts, all related to woodwind manufacture and repair and accumulated over my years
through the fire, someone who is in this field. My interest is in improving all aspects of a clarinet; mechanics, padding, tuning, cosmetics,
experienced with the repertoire and can and feel, to provide an instrument the musician can play with complete confidence. John Weir
relate it to you. Study the instruments (647) 351-8181 info@taplinweir.com 1434A Danforth Avenue, Toronto, ON . M4J 1N4
intonation and know your instrument

A Short History of the
Clarinet in New York City in
the 18th and 19th Centuries
by Jane Ellsworth
PART 2: THE NEW YORK

PHILHARMONIC AND BEYOND
Part 1 of this article, which appeared in the June 2015 issue of The Clarinet, examined the history of the clarinet
in New York City from 1758 to the early 1840s. Part 2 continues the story through the end of the 19th century.
1842-1860: THE PHILHARMONIC AND 1842-45 and again in 1853-54, he performed

VISITING ORCHESTRAS
I
not only in the orchestra but also as a soloist on a
n 1842 the Philharmonic Society of New number of occasions. Perhaps the most lauded of
York (todays New York Philharmonic these solo performances was on January 11, 1845,
Orchestra) was founded, the first permanent, when he played Webers Concertino. Several glowing
professional orchestra in the United States. In reviews appeared in newspapers the following week,
its earliest days it was a cooperative venture, with including this one:
annual profits that were divided equally among We never heard this artist to so great advantage
the musicians, and it presented just three or four as on the occasion here alluded to; the evenness
concerts a year. and purity of his tones, his distinct and perfect
The orchestra roster of the Philharmonics articulation, the care and taste with which he gave
inaugural season does not survive, but in the annual due elasticity to his passages, his frequently rapid
report of the second season the clarinetists are listed but distinct passages, and the pathos of his slow
as Gller and Grnefeldt.1 (A table of the clarinetists movements marked him an artist of the highest
of the New York Philharmonic is given as Figure standing in his department This performance
1.) For the first three seasons Goeller played second was a perfect musical gem, and richly deserved
the enthusiastic applauses [sic] which were poured
clarinet, and from 1845 to 1849 he played principal.
upon it.2
A musician named George Goeller is listed in New
York City directories in the years 1844-48, 1850, and Of the same performance, a writer for the
1852-54, but nothing further is known about him. Broadway Journal praised Groenevelts tone and
A great deal more information is available about style, and stated, his expression is that of a man
Grnefeldt. Theodore W. Groenevelt (the spelling who feels the power of music in his heart.3
of his surname varies widely in early newspapers Groenevelt also performed on concerts besides
and other documents) was not only a clarinetist those of the New York Philharmonic, including
but also a cellist, and played in both sections of performances with the New-York Sacred Music
the New York Philharmonic during the first two Society, the German Society of New York and
decades of its existence. As principal clarinet from the German Jefferson Band, and as a guest artist

on concerts given by other individual long-term principal clarinetist: Edward chamber music soires, in the orchestra
musicians. He may also have been in the Boehm (1825-1885). Boehm occupied the for the 50th anniversary of the Handel
orchestra at Palmos Opera House. Despite post until 1885, for a total of 27 seasons & Haydn Society in Boston, and as a
these activities Groenevelt must have been longer than any other clarinetist until soloist with various orchestras including
looking for greener pastures, because for Stanley Drucker. He was one of New York the New Haven Philharmonic, Theodore
the next several years (1846-48) he worked Citys most prominent musicians during Thomass orchestra, the Ninth Regiment
in Boston as both a clarinetist and a cellist. that time, performing as a soloist as well Band, and the Liederkranz Society, as
No information exists for the years 1849-
as an orchestral player, and he holds a well as on miscellaneous concerts given
53, but by 1853 he was back in New York
position of great importance in the history by other musicians. One of the highlights
City, once again as principal clarinet in
the Philharmonic. After 1854 he seems to of the clarinet in America. was undoubtedly his performance of the
have played mostly in the cello section. Nothing is known for certain of Beethoven Septet with Wieniawski as the
Another important clarinetist in Boehms life before he came to the U.S., violinist, on May 30, 1873.9
the early history of the New York except that he came from Germany.7 In 1871 Boehm took up the bass
Philharmonic was Frederick Starck. Starck He appeared in New York beginning in clarinet. He played a solo on that
played regularly as the Philharmonics 1853, playing a solo at a concert given instrument on concerts by both the
second clarinetist from 1846 to 1860. He by the Dodworth Band at Metropolitan Brooklyn Philharmonic (January
also played as a soloist with the orchestra Hall on January 22 of that year.8 Data is 28) and the New York Philharmonic
in 1846, 1848 and 1850, despite the fact spotty regarding his activities in 1854-58, (February 4). The latter concert spurred
that he was not principal. Like Groenevelt, but he certainly performed as a soloist a number of reviews, almost none of
Starck played on concerts outside and chamber musician on concerts in them favorable. The work he played was
the Philharmonic, but not always to 1856, and continued to do so after called Recitativ and Romanze, composed
unequivocally good reviews. On a concert
his appointment to the Philharmonic. by Carl Bergmann, who also conducted
given by the pianist H.C. Timm in
He performed on the Mason-Thomas the performances (see Figure 2). Many of
February 1847, Starck played a solo work
by Ivan Mller, about which a reviewer
had the following to say:
Mr. Stark is a very good performer DATES PRINCIPAL SECOND NOTES
on the clarionet, both in point of CLARINET CLARINET
execution and tone, and his playing
gave great satisfaction; but he has not a 184245 Groenveldt Goeller Presumed for 1842-43; roster for that
perfect command of his instrument, and year not extant.
now and then, both to his mortification 184549 Goeller Starck
and to that of the audience, his clarionet 184953 Schneider Starck
gave a squeak which is peculiar to it and
unpleasant to the ear.4 185354 Groenveldt Starck
185458 Kiefer Starck
An individual named George Schneider
played principal in the Philharmonic 185860 Boehm Starck
between 1850 and 1853, but nothing 186064 Boehm Bahls H.A. Goepel and Schmeltz on 2 concerts
further is known of him. From 1854 to in 186364.
1858 the principal clarinetist was Xavier 186465 Boehm Drewes
Kiefer (1821-c.1858). Kiefer had already
186568 Boehm Bahls Goepel replaces Bahls on 2 concerts;
been playing in New York since 1851 as Wendelschaefer replaces Bahls once
a soloist with bands and orchestras, and and Boehm once.
as a chamber musician. He even played a
186885 Boehm Drewes When Boehm plays bass, Drewes
basset horn solo of his own composition
plays principal and Goepel plays 2nd.
on a concert by the Dodworth Band
Sometimes Wendelschaefer or Bahls
in 1852.5 On his first solo appearance plays second.
with the Philharmonic, Kiefer played a
Concertino composed by the orchestras 188591 Schreurs Drewes Kohl plays bass and sometimes extra;
other extras are Freund, Penzel, Giese.
conductor, Theodore Eisfeld.6 He seems to
have made something of a specialty of this 189194 Reinecke Drewes Kohl plays bass; Foerster plays extra.
work, since he performed it again in 1855 189496 Stockigt Drewes; Foerster Toward the end of each season Scheck
and several times in 1858. He also played at end of 9596 plays principal.
other concerts in New York, and in the fall 189697 Scheck Freund
of 1858 toured with an orchestra managed
18971900 Scheck Streit Kohl and Freund continue to play bass.
by the impresario Bernard Ullman.
Upon Kiefers death in 1858 the New Fig. 1: Table of New York Philharmonic Clarinetists, 18421900. Some details omitted.
York Philharmonic finally hired its first (Compiled from materials at the New York Philharmonic Archive)

falls into the hands of some professor of the ordinary clarionet,
who has not practiced it sufficiently to acquire complete mastery
over its special difficulties. We have noticed this many times in
European orchestras, and the performance on the present occasion
offered a similar cause for regret. Mr. Boehm, as everyone knows,
is an excellent artist, but he was obviously not at home with
his unwieldy instrument. His phrasing and expression were full
of musical purpose, but, unfortunately, his intonation was never
as good as his intention, and no amount of style or feeling can
compensate for constantly playing out of tune.
In spite of this, Boehm went on to play bass clarinet solos on
several other occasions, and played the instrument in the orchestra
when it was called for.
In addition to performing in the orchestra, Boehm served
administratively on the Philharmonic board, as a director from
1865-69, and vice president from 1870-74 and 1876-80.10 He
also seems to have taught clarinet, first at the Mason and Thomas
Conservatory of Music (1867) and then later at the New-York
College of Music (1878).11 News of Boehms death in late October
of 1885 reached newspapers as far away as Salt Lake City; The
Deseret News of November 4, 1885 recounted it thus:
Edward Boehm, the widely-known clarionet player, died last
week in New York from lung disease. He was 60 years of age, and
had been for fifteen years the first clarionet player of Thomas
orchestra. He was first a member and lately vice-president of the
Philharmonic Society. Mr. Boehm was a remarkable musician and
an exquisite clarionet player, in fact one of the best in this country.
In addition to the Philharmonic, many other opportunities
also existed for clarinetists in New York City in the 1840s and
50s. The usual season of concerts and opera performances
had expanded greatly by the middle of the century. Clarinetists
working outside the Philharmonic included Giulio Macchi, J.E.
Drescher and Esuperanzio Belletti.
Macchi appeared for the first time in 1847, playing for the
Italian opera company of Sanquirico and Patti at the newly-built
Figure 2: Program of the New York Philharmonic Concert, February 4, 1871, Astor Place Opera House; by the next year he was touring with a
documenting the first appearance of the bass clarinet with the Philharmonic. concert troupe formed of members of that same company. Macchi
(Courtesy of the New York Philharmonic Leon Levy Digital Archives) and Drescher played together on at least one occasion in New York
City, but Drescher seems to have had a rather more active career.
Drescher was known not only as a clarinetist, but also as
the reviewers commented on the effectiveness of the piece itself, a basset horn player; his performance on that instrument at a
which had the unusual accompaniment of two clarinets and two concert for the American Musical Fund Society in 1850 was
bassoons; but most were of the opinion that Mr. Boehm, though lauded by a reviewer.12 He played solos with the New York
Philharmonic on two occasions, in 1851 and 1852, and also
a fine musician, was not comfortable with the bass clarinet. The
traveled with an orchestra that accompanied the Swedish
following excerpt, from the periodical Orpheus (March 1, 1871), is
Nightingale, Jenny Lind, for some of her U.S. touring, during
representative of critical reaction.
which he performed the Weber Concertino on concerts in
The composers principal object was apparently to display Baltimore and New Orleans.13 Belletti was also associated with
the peculiar powers and capabilities of the bass-clarionet, an Lind, playing solos on her concerts in 1851 in New York and
instrument which stands an octave lower than the ordinary
elsewhere. He was still performing in New York in 1853, but after
clarionet in B flat, and is scarcely known in America where it has
that went south to Charleston, New Orleans and Havana.14
rarely been heard except in the Huguenots and LAfricaine
of Meyerbeer. Its lower tones are somewhat sepulchral, and the
In the 1840s several European orchestral ensembles toured
upper ones decidedly ineffective in cantabile passages. For certain the main cities of the East Coast. Most pertinent to this study
effects, especially of a weird, solemn, or mystic character, the lower were the so-called Steyermarkische Company, under Frances
tones of this instrument cannot be matched; but a little of the Riha (arrived 1846); the Germania Musical Society under Carl
bass-clarionet goes a great way, and we much doubt the possibility Lenschow (arrived late September 1848); and Joseph Gungl and
of it being rendered interesting through a long solo. Moreover, his orchestra (arrived early November 1848). The Steyermarkische
in consequence of its being so seldom required, it nearly always Company, appearing in New York in 1847, traveled with at

least one clarinetist, K. Ingerstein, who minstrel band (banjo, fiddle, tambourine, and a first class tambourine end man.
sometimes played as a soloist.15 The and bones), but no mention has been Other groups of this type using clarinets
clarinetists of the Germania orchestra made of the use of the clarinet in these in the early 1860s included Cowleys
during their six-year stay in the U.S. and other types of popular entertainment. Minstrels, Buckleys Serenaders, and the
were I. Shultz (principal), A. Haenel and Newspaper advertisements found in New San Francisco Minstrels, who played in
H. Albrecht; Shultz received a positive York and elsewhere make it clear, however, New York frequently.
review when he played a clarinet solo by that clarinetists sometimes performed and Another popular attraction was Van
Baer on a New York concert in 1848.16 traveled with minstrel shows. William Oeckelens clarinet-playing automaton,
Gungls clarinetists were named Bohme Christy, for example, advertised in the which was on display in 1865 and was
and Herwig; no evidence has yet surfaced described thus:
New York Herald of August 11, 1860,
identifying these individuals with either
that he wanted gentlemen to form a first The automaton itself is a very
Edward Boehm, mentioned earlier, or
class quartette, first and second violinist, remarkable affair. The figure, somewhat
with William Herwig, mentioned in part
1 of this article.17 violincello [sic], flute or clarionet player, larger than life, is dressed in the old
The last clarinetist to begin his career
before the close of the 1850s was August
Henry Goepel. His first appearance was in
1859 on a concert in the series chamber
The Art of Better Reeds
music soires organized by William Mason
and Theodore Thomas, when he was
the clarinetist in a performance of the
Schubert Octet.18 Goepel played principal
clarinet in the New York Philharmonic
on two concerts in the 1863-64 season
when Boehm was absent, and deputized
for absent second clarinetists on numerous
occasions between 1866 and 1877.
Goepels other concert appearances reedgeek.com
included a performance of Mozarts
Quintet for Piano and Winds on a Mason-
Thomas soire in 1862, and a performance
as a soloist with Grafullas band in 1871.
FROM THE CIVIL WAR TO THE

END OF THE CENTURY
The advent of the American Civil War
brought military bands back into action.
Scholars of American music often speak of
the bands of this era as consisting entirely
of brass instruments, and certainly many
did, but there were also bands of mixed
winds and brass that included clarinets.
Advertisements recruiting clarinetists for
military regiments appeared in newspapers
in New York and elsewhere throughout
this period. Wind bands in general were
experiencing a golden era in American
towns and cities in the 19th century, and
New York was no exception. Clarinetists
performed as soloists with the Dodworth
band, and as members of bands conducted
by Lothian, Noll, Grafulla and other well-
known bandmasters.
Band concerts provided both high-
class and popular entertainment for
the general public. Audiences also flocked
to minstrel shows. Writers on American
minstrelsy usually discuss the typical

A little of the bass clarionet goes a great way, In 1877 a new orchestra called the
New York Symphony was started by
Leopold Damrosch. The original principal
and we much doubt the possibility of it being clarinetist of this orchestra was Henry
Kayser, who also sometimes appeared
rendered interesting through a long solo. as a soloist with Theodore Thomass
orchestra in New York and on tour. Kayser
performed with the New York Symphony
until 1898 (after 1886 playing bass
court costume of three centuries ago. York Philharmonic, first in the 1864-65 clarinet). Stockigt played principal from
In response to the applause which season and then continuously from 1868 1888-90, before joining the Philharmonic,
greets its appearance, it bows to the to 1896. He also played principal when and other clarinetists associated with the
audience, turning its head slowly in the regular principal was absent, or, under Philharmonic (Henry Giese and Gustav
doing so. At the proper moment it Boehm, when Boehm moved to the bass Penzel, for example) also performed with
places the instrument, to all appearances Damroschs orchestra. The New York
clarinet chair.20 Drewes performed on
an ordinary clarionet, to its lips, and Symphony merged with the Philharmonic
numerous occasions as a soloist with the
plays a few musical phrases, lowers the
7th Regiment Band of New York and in 1928.
instrument to allow an interlude on
other groups as well. Other important clarinetists active
the piano-forte, surveys the audience,
nods, and soon resumes its playing. The Schreurs (1863-1921) succeeded in New York from 1870 to the end of
inventor asserts that the music is really Boehm as principal clarinetist in both the century were Luigi Schneider, who
made by the clarionet, and in view of the Philharmonic (through 1891) and appeared as a soloist in 1872-73 before
this, the manipulation of the fingers the Thomas Orchestra, playing often as being named director of the Marine
of the automaton is truly astonishing, a soloist. He was also associated with Band; Carl Kegel and the E-flat clarinetist
for scales and rapid chromatic passages Liberatis band, and was a founder and Matus, who were both important soloists
are played with unerring facility and member of The New-York Reed Club, with the Gilmore Band (Kegel also
correctness.19 a group devoted to chamber music for sometimes played bass clarinet with the
By the mid-1860s, orchestral music was winds.21 In 1891 he moved to Chicago to Philharmonic); and Otto Fritzsche, who
flourishing in New York City. The New play principal in Thomass newly founded played as a soloist as well as serving as
York Philharmonic was well established, Chicago Symphony. Carl Reinecke principal with the New York Symphony
and other orchestral ensembles began to performed as principal clarinet of the from 1897 to 1902.
emerge as well. The most important of Philharmonic from 1891 to 1894. In A concert worth mentioning took
these was the orchestra formed by Theodore addition, he was a member of The Mozart place on November 1, 1892, on which
Thomas (1835-1905), widely recognized Club (a woodwind quintet) in 1892, and both the Trio, Op. 114 and Quintet, Op.
as one of the most important figures in in 1895 he performed the Brahms Quintet 115 of Brahms received their earliest
the history of the orchestra in America. with the Maud Powell string quartet (not American performances; the performer
The Thomas Orchestra was the resident the first New York performance of the is unfortunately not named in the
orchestra of the Brooklyn Philharmonic work see below).22 advertisement.24 A few months later the
Society, and played in many other locations Stockigt (his surname appears in Quintet was performed by the famous
within and outside of New York as well, various spellings) was playing as a soloist Kneisel Quartet with a clarinetist named
including for a series of Popular Concerts with a resort orchestra at Long Beach, Goldschmidt (probably G. Goldschmidt,
in Central Park. The clarinetist most New York, in the summer of 1880. He who was principal clarinet of the Boston
closely associated with Thomas was Edward performed as an extra clarinetist with Symphony from 1889 to 1894). A
Boehm, who played for him frequently as the New York Philharmonic off and on reviewer for the New York Times admired
a soloist at the Central Park concerts and between 1881 and 1894, and played the work, but panned Goldschmidts
on the Mason-Thomas chamber music principal for good portions of the 1894- playing.25 Brahms Sonata in F minor
soires mentioned earlier. Boehm may have 96 seasons. Stockigt was also a member was played in New York in 1896 by
traveled with Thomass orchestra on its of the Gilmore band, with which he Lon Pourtau, who had taken over from
many tours beginning in 1869; he certainly performed as solo clarinetist from 1882 Goldschmidt as principal clarinetist of the
played with the group at the Cincinnati until at least until 1894, and of the Seidl Boston Symphony.26
Music Festival in 1880. Society orchestra. Emil Scheck took over By the early 20th century, the names
After Boehms death in 1885, a new as principal of the Philharmonic in 1895, of clarinetists in New York begin to sound
group of clarinetists came to prominence having substituted for Stockigt on a more familiar to modern clarinetists:
in New York City, including John Drewes, couple of concerts in the previous season; Alexandre Selmer, Gustave Langenus,
Joseph Schreurs, Carl Reinecke (not the he remained principal through 1908. Simeon Bellison. The activities of these
well-known composer, but possibly a Scheck also played with the Seidl Society players have been well documented.
relation), Louis Stockigt, Emil Scheck orchestra and, along with four other It is to be hoped that this article has
and others. John Drewes served a long principal wind players from that group, succeeded in bringing to light their many
period as second clarinetist of the New formed the Seidl Quintet.23 predecessors, and in demonstrating how

important these earlier performers were in advertisement in Bostons Daily Atlas, December 24 New York Times, November 1, 1892.
establishing a tradition of serious clarinet 18, 1847. 25 New York Times, February 12, 1893.
16 The review appeared in The Literary World, Vol. 26 New York Times, January 7, 1896.
playing in New York City. v 3, No. 90 (October 21, 1848), 753.
17 See Roger L. Beck and Richard K. Hansen,
ENDNOTES Josef Gungl and his Celebrated American ABOUT THE WRITER
1 Howard Shanet, Philharmonic: A History of Tour: November 1848 to May 1849, Studia
New Yorks Orchestra (New York: Doubleday,
Jane Ellsworth is
Musicologica Academiae Scientarium Hungaricae
1975), 73; also Henry Edward Krehbiel, The 36, vol. 1-2 (1995): 53-72.
associate professor
Philharmonic Society of New York (New York and 18 A review of the concert appeared in the New-York of music at Eastern
London: Novello, Ewer & Co., 1892), 41. Some Musical Review and Gazette of April 30, 1859. Washington
annual reports containing roster information are 19 Evening Post, March 20, 1861. University, where
held by the New-York Historical Society, while a 20 According to programs held at the New York
she teaches music
fuller set is held at the New York Philharmonic Philharmonic Archive.
Archive. The New York Philharmonic Archive 21 Numerous notices of Schreurss activities with history and directs
also holds a complete set of programs and other the Thomas Orchestra can be found in the New the graduate music
sources, which have been consulted by the York Times in the second half of the 1880s, program. She is both
author. and his time as principal with the New York a musicologist and a professional clarinetist.
2 The Anglo American, January 18, 1845, p. 309. Philharmonic is documented in programs at the
New York Philharmonic Archive. The first (and
She earned her Ph.D. in musicology in
3 Broadway Journal, Vol. 1, No. 3 (January 18,
perhaps only) performance of the New-York 2004 from The Ohio State University, and
1845), p. 46.
4 The Anglo American, February 1, 1847, pp. 405- Reed Club was reviewed in that same newspaper also holds bachelors and masters degrees in
406.
on March 2, 1889. clarinet performance from the Cleveland
22 Reinickes time as principal of the New York Institute of Music and a D.M.A. from Ohio
5 A handbill for this concert is reprinted in John
Philharmonic is documented in programs at the
H. Mueller, The American Symphony Orchestra:
New York Philharmonic Archive. A notice of the State. Dr. Ellsworth is bass clarinetist with
A Social History of Musical Taste (Bloomington: the Spokane Symphony, and has performed
Mozart Club appeared in the New York Times,
Indiana University Press, 1951), plate facing page
January 24, 1892; the Brahms performance was on modern and historical clarinets in
102. reviewed in the same newspaper on January 4,
6 Adrienne Fried Block, New Yorks Orchestras Europe, Asia, and South America. She is
1895.
and the American Composer: A Nineteenth- 23 The formation of the Seidl Quintet was
currently at work on a book tracing the
Century View. In European Music and Musicians announced in the New York Times, November 30, history of the clarinet in 18th- and 19th-
in New York City, 1840-1900, ed. John Graziano 1897. century America.
(University of Rochester Press, 2006), 130.
The performance and the work were positively
reviewed in the Musical World, December 9,
1854, 178.
7 The 1855 New York State Census (accessed
through Ancestry.com) lists Edward Boehm,
musician, aged 30, living in the 8th ward of New
York City with his wife Harriet, aged 28. His
birthplace is listed as Germany. His length of
residence in New York is listed as six years, so he
must have arrived in 1849, although no evidence
for his musical activities has been found before
1853.
8 New York Daily Times, January 21, 1853.
9 New York Herald, May 27, 1873.
10 Krehbiel, 167-70.
11 An ad for Mason and Thomass Conservatory
appeared in the Evening Post, August 21, 1867;
the New-York College of Music was advertised in Excellence in
the New York Times, September 17, 1878.
12 The Message Bird, February , 1850, p. 218. clarinet hand
13 The concerts with the New York Philharmonic
are documented in Krehbiel, 106-7; the Lind
selection service
concerts are mentioned in The Sun, Baltimore,
December 12, 1850, and The Daily Picayune,
New Orleans, February 22, 1851.
14 References to Belletis performances appear in
numerous New York newspapers and periodicals
in 1851. Secondary sources that mention
him are Adriano Amore, Il Clarinetto in Italia
nellOttocento (Academia Italiana del Clarinetto,
2009), 37, 108, 138-41, 142, 147, 174 (n. 637); www.rodriguezmusical.com 470-545-9803
Pamela Weston, More Clarinet Virtuosi of the Past
(London: The author, 1977), 45; idem, Yesterdays Now offering clarinet overhauls. Contact us for more information.
Clarinettists: A Sequel (Ampleforth, Yorkshire:
Emerson Editions, 2002), 33.
15 The name of this clarinetist is found in a concert

MASTERWORKS FOR
BASS CLARINET
A Personal Experience
by Rocco Parisi
W
hen the composer Saverio version of Paganinis Capriccio 24 for violin. I
Mercadante first met Catterino remember his gaze ranging between astonishment
Catterini who played the glicibarifono and surprise, as if he was listening and seeing
(the forefather of the modern bass something extraordinary. Some days later he phoned
clarinet) in La Fenice Theater Orchestra in Venice, me, asking if I was available to work with him on a
he immediately became fascinated by this instrument bass clarinet version of his Sequenza IXa for clarinet.
and recognized its great potential. Mercadante was The main theme of every Berio Sequenza for
so moved by Catterinis virtuosity that he wrote solo instrument is the required virtuosity both in
conceptual and technical aspects. These were the
a solo for him in the opera Emma di Antiochia,
elements that really amazed Berio in my version
commissioned for the 1834 carnival season and
of Paganinis Capriccio 24. I worked with him for
played in March of the same year. This is the first four days in his house in Florence in 1997. He
solo ever written for bass clarinet. was fascinated by the versatility of my bass clarinet
Emma di Antiochia was considered a masterpiece. playing and loved the low sounds and high sounds at
This solo impressed and interested critics of the the same time. These are the parameters that inspired
day who referred to the bass clarinet sound as voce the new version, Sequenza IXc for bass clarinet.
del clarinetto e insieme del fagotto vale a dire che Compared with the previous version for clarinet,
ha le note delluno e dellaltro (like the sound of a everything has been shifted down by a 10th and
clarinet and a bassoon at the same time). The solo distributed across a great range of four-and-a-half
is in the Italian aria style with a brief cadenza at the octaves in the Sequenza IXc for bass clarinet.
beginning, a main theme and a coloratura section. The first long note is a low C, a sound
A similar situation happened when Luciano particularly loved by Berio. The entire piece was
developed taking into account the skill of the bass
Berio first listened to me playing my bass clarinet
clarinet player to change from the low notes to the
highest notes with great ease. For example, at letter
M, the score reaches a high F one of the highest
notes of the instrument and is immediately
Donatoni loved the bass clarinet sonority followed by a low C, thereby including the entire
sound range in which Sequenza IXc is written.
and compared it with velvet: soft on one An interesting situation occurred when I asked
Berio about the multiphonics between letter J and
L. I was concerned about whether I could play
side but rough and scratchy on the other! them, especially in a context of a piano sonority. I

Photo Credit: Universal Edition / Eric Marinitsch
Luciano Berio
remember that Berio looked me straight at a ppp dynamic, which slowly grows starts with a strong sonority like a
in the eyes and told me to find a solution up to a long C-sharp in the high register, tsunami, Morricone said characterized
that I could manage. A few days later, I followed by a gradual decrease to the deep by forte tremolos in the low register,
found some easier and accessible fingerings register accentuated by the use of a slap followed by a short series of slap tongues,
based on natural harmonics: the Maestro tongue, resulting in a complete extinction a virtuoso section, and implied polyphony
had already guessed I would! of the motif. On a different line is the at the end. v
Berio told me that he preferred this second time: scratchy as velvets back, and
new version to the clarinet version, aggressive, characterized by the use of fast ABOUT THE WRITER
because it was much more varied and staccato, flutter tongue and slap tongue. Bass clarinetist Rocco
interesting. This has become a masterpiece When Donatoni died, I was invited to Parisi, born in San
of our small literature! play Soft during his funeral in Milan. Pietro a Maida (CZ)
Another bass clarinet masterpiece is Another jewel of our musical literature Italy, is recognized as
Soft by Franco Donatoni. I contributed is Come unonda by Ennio Morricone. a talented interpreter
to this piece, commissioned and written Morricone listened to me play and was of contemporary music
for Harry Sparnaay, a great pioneer of immediately impressed by my bass clarinet and an innovator of
the bass clarinet who collaborated with and its sounds. He was so fascinated that new techniques for the
great musicians like Berio, Donatoni, he dedicated the bass clarinet version bass clarinet. He gave
Ferneyhough and Yun. (Learn more about of Come unonda, which was originally the world premiere of Sequenza IXc for bass
the fantastic musician Harry Sparnaay in for cello, to me. It is a short but very clarinet and the Italian premiere of Chemins
Sparnaays book The Bass Clarinet.) intense piece! Morricone used every IIc for bass clarinet and orchestra, both by
Donatoni loved the bass clarinet single instrumental peculiarity of my Luciano Berio, as well as the world premiere
sonority and compared it with velvet: soft bass clarinet, writing for a four-octave of Come unonda by Ennio Morricone. He
on one side but rough and scratchy on range, using a variety of timbres and has performed at ClarinetFest conferences
the other! In fact, Soft is played two times, articulations, creating a remarkable work in New Orleans, Stockholm, Salt Lake City,
starting with a low-sound-based section with great sound effects. Come unonda Austin, Assisi, Baton Rouge and Madrid.

Report from Norway
Music Reviews Editor Gregory Barrett reports on his recent trip to Norway to learn about its
clarinetists and its music.
by Gregory Barrett
I
n Norway, an oft-heard boast equates the Flying over the mountainous spine of Norway
distance from Oslo north to the tip of Norway from the west coast to Oslo is something the
with the distance from Oslo south to Rome. If Bergen Philharmonic does with regularity. It also
the size of Norway fails to impress you, have tours internationally, including a 2007 concert
you sailed up a fjord lately or attended a production at Carnegie Hall with its music director, Andrew
in the new Opera House that sleekly glides into Litton. Their concert I attended in Oslo featured
Oslo Fjord? My clarinet journey in Norway began two works, Unsuk Chins Scenes from Alice in
with a concert by the visiting Bergen Philharmonic Wonderland for soprano, mezzo-soprano and
Orchestra at the Snhetta-designed Opera House. orchestra, and Gustav Mahlers Symphony No. 4.
Oslo Opera House

Bergen Philharmonic Principal Clarinet
and ICA National Chairperson for
Norway Christian Stene beautifully played
the lilting introduction for soprano Sally
Matthews in the Mahler last movement,
Wir genieen die himmlischen Freuden.
Matthews mesmerized the audience with
her sensitively inflected performance.
Another highlight of the evening was
unexpectedly running into my friend from
ClarinetFest 2011 and 2013, Stig Eide. He
is a full-time administrator and counselor
at Lrenskog Upper Secondary School and
teaches clarinet and piano in the evenings
at Lrenskog Music and Culture School.
CLARINET WORKS IN THE Oslo Konserthus

NATIONAL LIBRARY OF
NORWAY
One focus of my time in Norway was to
investigate Norwegian clarinet music past scores. To aid the researcher, an expert staff available on CD from Simax. Like other
and present. The best place in Norway is on hand and highly detailed catalogs music by Olsen, the Suite is influenced by
to get an overview of all published and for woodwinds and mixed ensembles Norwegian folk music. The Norwegian
unpublished clarinet music is at the have been produced. All works in the Wind Quintet was formed in 1955 from
National Library in Oslo. catalogs are available either directly from members of the Oslo Philharmonic,
Law requires all published Norwegian a publisher, the National Library or its who were also teachers at the Norwegian
works to be deposited in the library, publishing service NB noter (www. Academy of Music. One result of the
and many composers belonging to the nb.no), a digitized collection of thousands decades-long activity of this ensemble is
Norwegian Society of Composers have of Norwegian scores in PDF format for the large number of woodwind quintets
also done so with their unpublished study or for purchase as sheet music. I composed in Norway and now found
am in the process of preparing an online cataloged in NB noter.
annotated listing of repertoire most Currently, the foremost quintet in
interesting to clarinetists; for example, Norway is the Bergen Wind Quintet. They
works by Johan Kvandal, Trygve Madsen annually tour outside Norway and are
and Finn Mortensen. comprised of four members of the Bergen
NB noter is most thorough with works Philharmonic Orchestra and clarinetist
by Norwegian composers active from the Fredrik Fors of the Oslo Philharmonic
mid-20th century to the present. That Orchestra. There is a lot of collaboration
covers almost all clarinet solo and chamber among musicians in Norway. The flight
works, but to check for any now-forgotten between the two largest cities, Oslo and
earlier works I also examined every volume Bergen, is just an hour. In this country of
of the Norsk Bogfortegnelse. Since 1885 considerable distances and mountainous
all newly published Norwegian books or terrain, air routes are numerous and
music scores have been cataloged in the convenient. Works found on the Bergen
Norsk Bogfortegnelse. The earliest mention Wind Quintets numerous recordings
of repertoire with clarinet (other than in include the three quintets by David
works for symphony orchestra) is in works Maslanka, two dedicated quintets
from the early 1930s for salon orchestra by Harald Sverud and much of the
by composers including Srensen, Johan standard repertoire.
Halvorsen, David Monrad Johansen and I met up with Fredrik Fors of
Arvid Kleven. the Bergen Wind Quintet and Oslo
The first published chamber music Philharmonic at the Oslo Konserthus,
with clarinet is Carl Gustav Sparre Olsens from where we meandered to a harbor-
Suite for 3 treblsere I fem sm satser, Op. side cafe serving bowl-size cups of
10 (composed 1933, published 1946). coffee. From this sunny vantage point we
Peer Gynt welcomes visitors to the National
The Norwegian Wind Quintet recorded perused the library catalogs to help me
Library the five short movements of Olsens work understand which composers and works
on a Philips LP in 1974. It is currently are the most noteworthy.

Up until a few decades ago it was stated
in the musicians contracts that as a member
of the Oslo Philharmonic you were not
allowed to go skiing the same day you were
playing a concert!
FREDRIK FORS AND THE OSLO Trygve Madsen and Finn Mortenesen
PHILHARMONIC with standard works by Schumann,
Swedish by birth (1973), Fredrik Stravinsky and Saint-Sans. Prior to this
studied at the Royal College of Music he recorded well-known French works and
in Stockholm and later with Yehuda the Busoni Suite for Clarinet and Piano
Gilad, Karl Leister, Anthony Pay and on a Harmonia Mundi CD in the Les Diego Lucchesi and Fredrik Fors
Richard Stoltzman. He performed the Nouveaux Musiciens series, a recording
Jean Franaix Clarinet Concerto in 1990 that resulted from his selection as a prize-
with the Austrian Radio Orchestra and winning Juventus Laureate. concert! Older colleagues of mine
joined the Oslo Philharmonic Orchestra That evening I had the pleasure of have told me this and I think its
in 1995 as associate principal clarinet. hearing Fredrik play in a concert by the a bit funny. Perhaps they were
Next season he will premiere a clarinet Oslo Philharmonic featuring Anton afraid the musicians would get lost
concerto being written for him by Bruckners Symphony No. 7. The 87-year- in the woods! As you know, the
Bjrn Kruse. In addition to quintet and old legend Herbert Blomstedt conducted, surroundings of Oslo are a paradise
orchestra responsibilities, Fredrik teaches and the orchestra expressed in their for skiing and I often go cross-
at the Norwegian Academy of Music along playing their fondness for Blomstedt. country skiing when I have the
with his colleague in the Philharmonic, The Wagner tubas augmenting the brass chance even on concert days!
Leif Arne Pedersen, and Bjrn Nyman of section created the special sound for which
the Norwegian Radio Orchestra. Fredrik Personifying the back-and-forth
this work is known. When I asked Fredrik
praises his native Norwegian students, between Oslo and Bergen was visiting
what might surprise someone about the
citing the high level of Norwegian military Oslo Philharmonic section clarinetist
Oslo Philharmonic, he said:
bands contributing to the elevated level of Diego Lucchesi. Diego has been a
wind playing. I think people would be permanent member of the Bergen
Beyond his recordings with the surprised to know that, up until a Philharmonic Orchestra since 2003 and
Bergen Wind Quintet, Fredrik has few decades ago, it was stated in is originally from Piacenza, Italy. He
recorded several clarinet recital repertoire the musicians contracts that as a performed with his Bergen Philharmonic
CDs. His recent recording Black Bird member of the Oslo Philharmonic clarinet section at the 2013 Assisi
mixes outstanding Norwegian works by you were not allowed to go skiing ClarinetFest, playing Hvard Lunds
Johann Kvandal, Kyrre Sassebo Haaland, the same day you were playing a Clarinet Quartet and Trygve Madsens
Clarinet Marmalade. Next season with the
Bergen Philharmonic, Diego will premiere
a bass clarinet concerto being written for
Custom Clarinet Reed Blanks him by Henrik Hellstenius.
THE BERGEN PHILHARMONIC

AND THE GRIEG ACADEMY
The next day it was my turn to make
the trip from Oslo to Bergen to reunite
with Christian Stene, and to meet his
colleagues in the Bergen Philharmonic
www.aurora-winds.com
Orchestra and their students at the Grieg
Academy, University of Bergen. Bergen is
a lovely rain-soaked city on the Atlantic
coast surrounded by seven impressively

multiphonics were notoriously hard
with a fixed bass note and changing
upper register partials. It was a very
interesting process working together
with Therese, as I really needed to
rethink most of my basic playing
technique to find the sounds and
colors for which she was asking.
Shadows and Shields is being released
on a live CD this fall alongside other
works from the Bergen Philharmonic
Orchestras 250th anniversary season.
Christian is a native of Bergen and
began his studies with Lars Kristian
Brynildsen, former principal clarinet of
the Bergen Philharmonic. Students from
Norway enjoy the benefit of government-
funded education, whether at home
or abroad. Making the most of this,
Christian earned his bachelors degree with
George Pieterson, the former principal of
Christian Stene and Katy Whitelaw at Edvard Griegs waterside composing hut at Troldhaugen
the Royal Concertgebouw Orchestra, and
his masters and soloist diploma with Lee
Morgan of the Royal Danish Orchestra.
high mountains. Bergen will always be Philharmonic in 2010 as principal clarinet. Rounding out his study was work with
connected with Edvard Grieg, whose A recent highlight for him was premiering Franois Benda in Basel and a graduate
home, Troldhaugen, is not far south from in February 2015 Shadows and Shields, certificate with Yehuda Gilad in Los
the city center. Christian personified a concerto for clarinet by Therese Ulvo, Angeles. Reflecting on his years of study
Norwegian hospitality and drove my his former classmate in the Skjold School Christian said:
spouse, Katy Whitelaw, and me to visit Band. Christian said about the concerto: Looking back, all my teachers
this site sacred to all Norwegians. Thereses piece was a true had very different backgrounds and
Grieg was artistic director of the Bergen challenge and she deliberately set teaching methods. ... This meant
Philharmonic Orchestra from 1880 to out to push my limits. Some of the that I wasnt conformed to just one
1882 and the orchestras architecturally
striking hall is named after him, as is the
Grieg Academy of Music of the University
of Bergen. Bergen was historically the
Grieg Hall
center of the Norwegian kingdom, and its
orchestra, founded in 1765 (!) is among
the worlds oldest.
Through Christian I was invited
to give a presentation at the Grieg
Academy. Clarinet students and several
professors, including department head
Frode Thorsen, shared an hour with me
as I described what I had learned so far
investigating Norwegian clarinet music at
the National Library. Like most university
clarinet students around the world, my
new acquaintances in the clarinet classes
of Christian Stene and Hkon Nilsen were
conversant in the core German, Austrian
and French pieces in our repertoire, but
were mostly unaware of works penned
closer to home.
Christian played in the Norwegian
National Opera before joining the Bergen

school or method of playing, but
had to create my own. Two concepts
of playing that I constantly strive
for are Lee Morgans embodiment
of Beauty of Sound and Yehuda
Gilads Musical Mission.
Christians colleague at the Grieg
Academy is Hkon Nilsen, who is a
member of the contemporary music
ensemble BIT20 and since 1994 has been
the associate principal/E-flat clarinetist in
the Bergen Philharmonic. Hkon exclaimed
how his first concert with the orchestra was
playing E-flat clarinet in Ravels Daphnis
et Chlo. Quite a trial. He was born in
Bod, which lies just north of the Arctic
Circle and is the northern terminus of Grieg Academy clarinet students (on left) with professors Christian Stene, Hkon Nilsen and Gregory
the rail system in Norway. Hkon studied Barrett
with Lars Kristian Brynildsen at the Grieg
Academy and then with Hans Christian
Brin at the Norwegian Academy of Music
in Oslo. (On a side note related to Hans of Trondheim in Sr-Trndelag, one of of the river Nid and to visit the Ringve
Christian, clarinetists looking for engaging Norways 19 administrative counties. Tone Musikkmuseum. Downstream from the
and accessible solo works with string began her clarinet studies in Trondheim cathedral, with its concert hall facing
orchestra will find four appealing pieces in with Knut Lauritzen and continued in the river Nid, the Trondheim Symphony
his 2001 CD release Norwegian Concertinos Oslo at the Academy of Music with Bendt Orchestra plays 100 concerts a year. Their
for Clarinet and Strings.) Neuchs Srensen and Richard Kjelstrup young music director Krzysztof Urbaski
Bergen Philharmonic section clarinetist (the dedicatee of the concertinos on occupies the same post in the U.S. with
since 1987, Tone Hagerup is a native Hans Christian Brins CD) before the Indianapolis Symphony Orchestra.
concluding her clarinet study with Guy In addition to the cathedral, what is
Deplus in Paris. singular to Trondheim is its extensive
With Diego Lucchesi currently Ringve Music Museum. Housed in several
playing in the Oslo Philharmonic, French historic buildings in a park-like complex a
clarinetist Alexis Baldos has been his few miles from the city center, it is home to
substitute in the Bergen Philharmonic. over 2000 musical instruments, only about
Previously Alexis played in southern one-third of which are Western classical
Norway in Stavanger. After an evening instruments. The first-rate exhibit of
concert I socialized with all the clarinetists instruments is brought to life by recordings
in the orchestras canteen. And yes it is accessed over personal headphones.
true, like most everything in Norway, it At 63 degrees north latitude,
is very expensive to have a drink unless
Trondheim is considered in the mid-
your new friends are buying. Takk!
region of Norway. My next stop
My second day in Bergen was devoted
northbound, Troms, 200 miles north of
to six hours of master classes with
the Arctic Circle, is the coastal gateway to
Christian and Hkons students. Staff
the Arctic. Troms straddles the Tromsya
pianist Anne Nitter Sandvik energetically
Strait with the mainland on one side and
accompanied their performances of
the island Tromsya on the other.
Brahms, Lutosawski, Weber and Mozart.
Well done all! I first met University of Troms clarinet
professor Hkon Stdle in warm and sunny
NORTH TO TRONDHEIM Los Angeles at our 2011 ClarinetFest. He
AND TROMS has been a fixture in the music department
I was sad to leave behind my new friends at the University of Troms since 1972, has
in Bergen, but like so many before me, I been solo clarinet in the Troms Symphony
was off to the north and Tone Hagerups Orchestra and the Finnmark Symphony
hometown, Trondheim, to see its Orchestra, and has performed with the
famous medieval cathedral, Nidaros a Harmonien Orchestra and the Norwegian
Christian Stene and Tone Hagerup pilgrimage goal for centuries on a bend Radio Orchestra. His primary studies

talent. I played Clair by Donatoni
and Berios Sequenza, and both
pieces became kind of successful
for me and I really enjoyed playing
them. I guess I got a reputation as a
contemporary music talent. I went
on to play Lachenmanns Dal Niente
and studied this with the composer
(who became a good friend I later
played his Accanto with the Oslo
Philharmonic, and met him again
recently when we played two of his
pieces in the Oslo Sinfonietta) and
I started commissioning new music,
first solo pieces from Norwegian
composers. And so on It is really
important for me that I never left
Hkon and Tori Stdle the classical music behind, I have
only expanded, I have never quit
playing anything.
were in Oslo with Olav Rimstad and without use of any specific Sami Like Step Inside, Rolf s second album
Richard Kjelstrup but also beyond Norway melody. The Karakeino farvel on the Inside Out was nominated for a Spelleman
with David Weber, Ib Eriksson, Gervase other hand uses specific Sami joik Award (often called a Norwegian
de Peyer, Walter Boeykens and Jacques from the region where I was born Grammy). It contains works ranging
Lancelot. Hkons spouse, pianist Tori and is written in Messiaens quartet from solo clarinet to clarinet concerto
Stdle, is also on the University of Troms instrumentation. with orchestra, all by rjan Matre.
faculty. Several works were written for Rolf s desire to expand the clarinets
Dovetailing with Hkon exiting his
them, which they included on their 1987 boundaries extends to his love and
duties in the music department of the
record Musikk Fra Nord. The recording promotion of the contrabass clarinet. He
University of Troms, Rolf Borch was
features pieces by Ketil Vea, Folke was a research fellow at the Norwegian
appointed the new associate professor
Strmholm, Ivar Antonsen and Sren Academy of Music from 2011 to 2014,
of clarinet in 2014. Rolf belongs to the
Hjorth. When asked about the recording, and one of the outcomes of his activities
leading edge of our clarinet community
Hkon said: was the CD Rolf Borch plays Houvenaghels
by performing groundbreaking works
The important idea behind Organ. Charles Houvenaghel was
such as Brian Ferneyhoughs clarinet
making this record was to show a Belgian acoustician employed by
concerto La Chute dIcare and Helmut
that the music from the northern LeBlanc (Paris) when he developed
Lachenmanns Mozart Concerto-quoting
part of Norway was multi-stylistic the Houvenaghel/Leblanc contrabass
Accanto, and by commissioning works
and worth listening to. Yang og clarinet in the 1930s. A limited number
from composers exploring new sounds and
yin II by Sren Hjorth is a piece of these sought-after instruments were
expressive possibilities. On Rolf s 2007
written in the style of the Danish manufactured, and Rolf has the last
Aurora CD Step Inside he performs the
composer Per Nrgrds infinity one! And to what does Houvenaghels
classic Lachenmann solo clarinet work Dal
series, which in this piece results in Organ refer? Why, to a family of clarinets
Niente (Interieur III) and works written for
beautiful melodies. The Prelude and from high sopranino to the one-of-a-
him by Mark Adderly, Sven Lyder Kahrs
Fugue by Ivar Antonsen is in a more kind octocontrabass clarinet designed
and Magne Hegdal. The CDs name refers
modern harmonic and melodic by Houvenaghel. Rolf plays a range of
to the new approach to the timbral
style with stylistic elements from clarinets from soprano down to contrabass
subtleties of the clarinet its inside, so
Stravinsky and jazz. At the time in his overdubbed arrangements of organ
to speak. Rolf explained how he became
I did not know any work written works by Bach, Reger, Frescobaldi and
interested in the experimental side of
in the form of a Bach prelude and himself. What a sound!
the clarinet:
fugue for clarinet, so I asked Ivar to Another product of Rolf s research is
write one for me. I think it was when my the book he published in 2015 through
And then there is the Suite by wonderful teacher through my six the Norwegian Academy of Music:
Ketil Vea, and by Folke Strmholm years of studying at the Norwegian Contrabass Clarinet Orchestral Excerpts and
the Karakeino farvel. The Suite, Academy of Music, Hans Christian a Brief History. Following a brief history of
in the very personal style of the Brin, encouraged me to play the instrument, he edited chronologically-
composer Ketil Vea, was inspired by something contemporary that I arranged orchestral excerpts from Vincent
the Sami peoples music, the joik, discovered both a freedom and a dIndys Fervaal, Op. 40 to several

Woodwindiana
A resource for great
clarinet music and CDs
Home of The Clarinet Doctor

book and a place to purchase
unique clarinet duets, trios &
quartets from around the world.
Visit our website for full catalog

and ordering information:
www.woodwindiana.com
For interesting and informative

articles on a variety of
pedagogical topics, visit
the Forum section at: Gregory Barrett, Rolf Borch and clarinet/saxophone students at the University of Troms
www.howardklug.com
Woodwindiana, Inc.
contemporary Norwegian orchestral works was no better place to close my memories
P.O. Box 344 for which he was the contrabass player at than in Troms. The scenery was magic:
Bloomington, IN 47402-0344 the premiere. islands, snow-covered mountains and
(812) 824-6161 The conclusion of my Norwegian the sea. These elements of nature and
clarinet journey was soon at hand. There the sense of peace that pervades Troms
contribute to the success of a university
in such a distant corner of the world. In
Troms, between looking for reindeer
and eating heart-shaped pancakes with
lingonberry jam, I enjoyed a class with
clarinet and saxophone students at the
Department of Music. We played music
by Debussy and others, and it was clear
that the clarinet, in all its diversity, was
alive and well in Norway. v
ABOUT THE WRITER

Dr. Gregory Barrett
is professor of clarinet
at Northern Illinois
University, a Buffet
Group Artist and
music reviews editor for
The Clarinet. Barrett
takes special pride in
the achievements of
his students who have performed in groups
such as the Civic Orchestra of Chicago and
the National Center for the Performing Arts
Orchestra Beijing, and who have gone on
to advanced study at the Curtis Institute of
Music and the universities of Iowa, Kansas,
Missouri-Kansas City and Yale.

ICA ANNOUNCEMENT
2016 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: Deadline for the submission of application and other application materials is Friday, April 1, 2016. Please submit
the online application at www.clarinet.org.
Orchestral Audition Competition Coordinator: Robyn Jones rljnes12@memphis.edu
CONTEST RULES 3. A separate written and signed statement, attesting the

1. Application Fee: $65 USD. All applicants must be members
been edited.
of the ICA and submit the Competition Application. Non-
members wishing to apply may join the ICA by going to 4. A permanent address, telephone number and e-mail
www.clarinet.org and becoming a member. address should be provided.
The application fee is non-refundable.
JUDGING
2. Recording Instructions: Please provide a high quality
recording containing the following excerpts, in the exact Judging of recordings will be conducted with no knowledge
order. Each selection/movement should be listed as a of the contestants. Do not include any identification
single track, and should not contain your name. Please on your audio files. There should be no speaking on the
be aware that the quality of the recording will influence recording, such as announcing of compositions. Preliminary
the judges. Recordings should not be edited and only judging will be held by recorded audition. Semifinalists
continuous performances of entire works or movements will be chosen by committee and notified via email by
are allowed. Use the 1st clarinet part for all orchestral Monday, May 16, 2016. Semifinal and final rounds will be
excerpts required. at ClarinetFest 2016, to be held in Lawrence, Kansas from
August 3-7, 2016. Repertoire for the semifinal and final
a. Mozart: Concerto, K. 622, Movement I, exposition rounds will consist of the excerpts listed in item 2. Past first-
b. Beethoven: Symphony No. 6 1st mvt., Measures 474- prize winners are not eligible to compete. All contestants will
492; 2nd mvt. Measures 68-78; 3rd mvt. Measures accept the decision of the judges as final. All semifinalists will
122-133 receive free registration at ClarinetFest 2016. Travel expenses
c. Mendelssohn: Scherzo from Midsummer Nights Dream will be the responsibility of the contestant. All recordings will
beginning to B become the property of the ICA and will not be returned.
d. Respighi: Pines of Rome 3rd mvt., 1 before #13 to #15
e. Kodly: Dances of Galanta Measures 31-65; Measures PRIZES
571-579
f. Brahms: Symphony No. 3 1st mvt., Measures 23-46; First Prize: $1000 and Gregory Smith model clarinet
2nd mvt., Measures 1-22 mouthpiece
g. Rimsky-Korsakov: Capriccio Espagnol 1st mvt., Second Prize: $500 and Gregory Smith model clarinet
Measures 14-27 and 41-61; 3rd mvt., Measures 51-72 mouthpiece
h. Ravel: Daphnis and Chloe Suite No. 2 Measures 155-
158; 212 to the end
The Orchestral Audition Competition is generously
sponsored in part by Gregory Smith.
Dont Give Me Daphnis:
An Injury Recovery Guide for Clarinetists
by Mary Alice Druhan, with Kristin Keesey and Debbie Gillespie
Part one of this three-part series (Dec. 2014) examined evaluation of musculoskeletal injury, and part two
(March 2015) covered treatment of the injury through medication, physical agent modalities and massage.
PART THREE
TREATMENT OF THE INJURY, CONTINUED
D
STRETCH Stretching should be stopped if warning signs
uring rehabilitation, heat is applied (increased pain, numbness, tingling, muscle weakness
prior to active or passive stretching and/ or sensations of cold in the extremities) are detected.
or exercise. The benefits of stretching
include relaxation of tightened, ELECTRICAL STIMULATION AND
restrictive muscles, improved flexibility of muscles, ACUPUNCTURE
Electrical stimulation through the subcutaneous or
improved range of motion, relaxation of the mind
intramuscular needle can inactivate trigger points
and body, aid in the prevention and rehabilitation
(Gerwin, 135) and the use of an acupuncture or dry
of muscular injuries, improved circulation, and
needle can yield similar results. The ancient theory
promotion of the tissue remolding process
behind acupuncture claims that the life-force energy
following injury (Jameson, 203).
called qi flows through pathways that connect all the
Therapeutic stretch is often used as a treatment
tissues and organs of the body through twelve main
for myofascial trigger points (MTrPs) and
meridians. It also claims that disease is caused by the
myofascial pain syndrome (MPS). A therapist disruption of this flow of energy. Acupuncture claims
will perform active stretching and mobilization to to normalize the electrical energy of the body. Recent
increase mobility where the nerves are most likely study has confirmed many of the ancient principles
to be pinched or compressed (Damany, 111). upon which acupuncture is based (Jameson, 154).
Intermittent cold and heat-stretch is often used as Acupuncture works through nerve reflex action
a treatment for MTrPs and MPS as is postisometric which is transmitted through the neural pathways to
contraction-relaxation exercise which can be harness energy. It can be an effective treatment for
coupled with respiratory facilitation techniques. pain management. In addition, the minor traumatic
Gentle contraction-and-relaxation exercises can be irritation of local tissue allows those nerves which
performed with deep ischemic compression and are excessively stimulated to cease firing and rest
may be followed by local trigger point massage, while at the same time causing the release of an
myofascial release, therapeutic stretch and self- anti-inflammatory hormone (cortisol) into the
directed stretch (Gerwin, 135). bloodstream. Another desired effect of acupuncture

is that it aids in cell respiration by to condition muscle, to restore normal with herbs and utilizes specialized or
causing capillaries to dilate around the reciprocal inhibition in the affected applied kinesiology to test the bodys needs.
injured tissues. functional muscle unit, and to restore the
patients confidence (Gerwin, 136). ADDITIONAL TREATMENT
EXERCISE OPTIONS
According to Lowe, postural reeducation LOCAL INJECTION AND Occupational therapists coach patients
is initiated after the acute response to SURGERY through safely performing critical daily
injury is controlled and begins with In addition to therapeutic techniques, tasks while recovering from and preventing
exercises to improve extension of the injection of local anesthetic or dry injury. In general, this includes activities
midthoracic spine to place the head and needling techniques have proven like dressing and writing, ergonomics,
neck in a more balanced position over the successful in the treatment of the MTrP work environments and posture.
trunk and with exercises to improve the (Hong, 205-217; Chu, 106-121). A high Many disease states of the body can
patients ability to stabilize the scapula to velocity jet-stream injection technique be created by dysfunction in the nervous
decrease abduction (Lowe, 87). (without needle) is also effective (Gerwin, system. The chiropractic philosophy is
Range of motion (ROM) exercises are 135). The Performing Arts Medicine based on maintaining a proper nerve
typically prescribed once inflammation Association (PAMA) generally relies on balance through spinal and extremity joint
subsides. In addition, low-resistance a conservative approach to the treatment adjustments. Chiropractic treatment for
strengthening exercise can be added. In of musician injury, but states that, when musculoskeletal injury may include spinal
treatment of serious injury to a musician, conservative methods fail to produce and extremity adjustment, physical agent
a gradual return to play schedule is satisfactory results, corticosteroid injection modalities, rehabilitation techniques and
considered a strengthening activity and or surgery may be reasonable alternatives nutritional advice.
additional exercise may place too much for certain musculoskeletal problems Specialized kinesiology is a form of
stress on the recovering body. (Sataloff, 215). Treatment plans may muscle testing which can quickly detect
If active ROM exercises elicit pain, also include injection of muscle relaxers, many emotional, structural, spiritual and
the patient begins a program of isometric anti-inflammatories or the patients own nutritional imbalances, while applied
exercise which generally consists of a brief, Platelet Rich Plasma (PRP). kinesiology is used within the chiropractic
repetitive, isometric, maximal exercise profession and differs in the type of
program (Liberson, 236). Postisometric DIET AND NUTRITION muscle testing used, the assessment, and
contraction-relaxation exercise is often Every cell of the body relies upon the treatment.
used as one of the treatments for MTrPs proper nutrition to grow, divide and Homeopathy is based on the law of
and MPS. function, and whether or not these cells similars which states that like cures like.
Glides are exercises performed for the are optimally nourished depends upon Homeopaths believe that a substance
prevention of nerve entrapment. In a the persons diet (Jameson, 118). Cells in minute quantities will heal the body,
glide, the patient moves from one position inside the body constantly grow and die, whereas the same substance in large
to another without any force or resistance replacing themselves completely over time. quantities will cause symptoms (Jameson,
(Damany & Bellis, 111). The glide The state of health of the newly-replaced 176). Homeopathic remedies are made
should put a nerve or tendon through its cells also depends upon a properly from substances found in nature and are
maximum range of motion. functioning nervous system and genetics. considered by some to be entirely safe.
A sedentary lifestyle has many risks, Herbal supplements can have a potent As with the use of herbal supplements,
but specifically for someone with a and wide range of effects on the body patients should consult a health care
musculoskeletal disorder, it can lead and should be treated as a prescription provider who is familiar with homeopathy.
to poor circulation and escalated pain. medication. Patients should consult a Meditation has been used for thousands
Poor circulation and stagnant lymphatic natural health care provider who is familiar of years to affect human physiology. Two
tissue can result in an increase of overuse
symptoms. In defining treatment of
repetitive strain injury, Jameson states,
maintaining good aerobic fitness before,
during, and after a repetitive strain
injury cannot be emphasized enough
(Jameson, 257).
Aerobic exercise (any activity that raises
the heartbeat 60 to 80 percent for at least
20 minutes) increases cellular activity and
induces a hormonal response which reduces
insulin levels and increases glucagon levels.
Gerwin adds, use of aquatic programs,
swimming, yoga, tai chi, and specific
resistive strengthening programs help

major forms are mindfulness meditation, 51-57). Emotional well-being in patients professional medical advice, diagnosis or treatment. The
which allows the patient to become aware can be aided by exercise, pets, pampering, information provided in this article is not a substitute
for medical or professional care, and you should not use
of all of the senses, and concentrative empathy and involvement in alternate the information in place of a visit, call consultation or
meditation, during which the patient musical activities. Other emotional the advice of your physician or other healthcare provider.
focuses on a mantra, an image, or their healing treatments include Golden Light Always seek the advice of your physician or other
own breathing. The effects of meditation Healing or Three-in-One Concepts. qualified health provider with any questions you may
include lowered blood pressure, decreased have regarding a medical condition. Never rely on
RETURN TO PLAY information contained in this article in place of seeking
heart rate, decreased breathing rate and professional medical advice. Never disregard professional
decreased cortisol in the blood. Following an injury, returning to practice
medical advice or delay in seeking it because of
Clinical hypnosis is an altered state is often considered an exercise regimen. something you have read in this article. You should also
of awareness used by licensed therapists Musicians must be mindful of additional ask your physician or other healthcare provider to assist
to treat both psychological and physical exercises while they also increase practice you in interpreting any information in this article, or in
time. The practice routine must be applying the information to your individual case.
problems. Recent research supports that Medical information changes constantly. Therefore
hypnotic communication and suggestion continually monitored and analyzed for
the information in this article should not be considered
effectively change aspects of a persons each patient in order to prevent recurrence current, complete or exhaustive, nor should you rely on
physiological and neurological function. of injury, specifically if a significant time such information to recommend a course of treatment for
Hypnosis has a reliable and significant was spent away from the instrument. you or any other individual. Reliance on any information
Regardless of the plan used, musicians must provided in this article is solely at your own risk.
impact on acute procedural pain and
chronic pain conditions (Patterson, 521). be cautious to not add time or intensity
More information can be found at www. to their workout if they experience ABOUT THE WRITER
asch.net. discomfort in their current routine. v Mary Alice Druhan
Craniosacral therapy (CST) is a method is associate professor
WORKS CITED
of evaluating and boosting the function Brummit, Jason. The Role of Massage in Sports of clarinet at Texas
of the craniosacral system. It can be Performance and Rehabilitation: Current A&M University
used individually or in conjunction with Evidence and Future Direction, North American Commerce and
other therapies as a preventative health Journal of Sports Physical Therapy 3.1 (2008): 8. recipient of the James
Chu, J. Dry needling (intramuscular stimulation) Jim Vornberg Award
measure to effectively treat a number of in myofascial pain related to lumbosacral
medical problems associated with pain, radiculopathy, European Journal of Physical
for Teaching. She
dysfunction and trauma. Medicine and Rehabilitation 5 (1995): 106-121. has performed with
Damany, Suparna and Jack Bellis. Its Not Carpal orchestras and opera companies, chamber
EMOTIONAL IMPACT Tunnel Syndrome! Philadelphia: Simax, 2000. ensembles and premiere bands for more than
Emotional repercussions of chronic Gerwin, Robert D. Myofascial Pain Syndromes in twenty years in the U.S., Europe, and Asia.
the Upper Extremity. Journal of Hand Therapy
injury include second-stage denial, She is a Backun Musical Services Performing
10.2 (1997): 130-136.
anger, depression, suicidal thoughts, fear, Hong, C. Myofascial trigger point injection, Artist. Dr. Druhan has suffered from and
anxiety, guilt, self-recrimination and Critical Review Physical Rehabilitation Medicine 5 is in recovery for a serious playing-related
grief. Musicians recovering from injury (1993): 205-217. injury which inspired her research, writing,
may develop a sense of hopelessness, Jameson, Timothy J. Repetitive Strain Injuries: lectures and advocacy for musician injury,
Alternative Treatment & Prevention. New Canaan,
nervousness or insecurity about the prevention and recovery.
CT: Keats Publishing, Inc., 1998.
quality of their performance. They can be Liberson, WT. Brief Isometric Exercises, Kristin M. Keesey received her degree
fearful of repercussions from their peers Therapeutic Exercise, 3rd ed. Baltimore: Williams from Texas Womans University School of
or conductors and may try to hide their & Wilkins, 1981. Occupational Therapy in 1995. She is a
injury or postpone getting the necessary Lowe, Colleen. Treatment of Tendinitis, Certified Hand Therapist and a graduate of
Tenosynovitis, and other Cumulative Trauma
help. This and the possibility of lost the Dr. Vodder School of Manual Lymphatic
Disorders of Musicians Forearms, Wrists,
income during an injury can lead to high and Hands... Restoring Function with Hand Drainage. For eight years she was an
levels of stress. The effects of chronic Therapy, Journal of Hand Therapy. 5.2 (1992): instructor of orthopedic continuing education
stress include adrenal fatigue which affects 84-90. to fellow therapists in the Dallas and Houston
every organ and system in the body. Patterson DR, Jensen MP. Hypnosis and Clinical areas in Texas. At present she is working at
Pain, Psychology Bulletin. 129.4 (2003): 495-
More information can be found at www. 521.
Covenant Hand Therapy in Plano, Texas.
adrenalfatigue.org. Quilter, Deborah. The Repetitive Strain Injury Recovery Debbie Gillespie graduated from Texas
Professional psychiatrists, psychologists Book. Bloomington: iUniverse, Inc., 1998. Massage Institute in 2004 and has worked
and social workers are trained to help Sataloff, Robert T., Alice G. Brandfonbrener, and as a full time massage therapist for 10 years.
patients struggling with emotional well- Richard J. Lederman. Performing Arts Medicine. She has served as the exclusive massage
3d ed. Narberth, PA: Science and Medicine, Inc.,
being. Approaches to emotional health 2010. eBook.
therapist for Cirque Du Soleil Kooza show
include finding a safe way to express in Dallas and now owns Massage Rockwall.
emotions, avoiding isolation, associating * * * * * She is proficient in many modalities
with positive people, practicing positive MEDICAL DISCLAIMER
including sports massage, trigger point,
self-talk, refusing to be a victim, and taking This article is for informational and educational deep tissue, hot stones, TMJ Release and
charge of the recovery process (Quilter, purposes only, and is not intended to be a substitute for Lymphatic Drainage.

ICA ANNOUNCEMENT
2016 ICA Young Artist Competition

Eligibility: The competition is open to all clarinetists who shall not have reached the age of 27 by January 1, 2017
(i.e., born on or after January 1, 1990) and are not currently under major artist management.
Application: Deadline for the submission of application materials is Friday, April 1, 2016. Please submit the online application
at www.clarinet.org.
Young Artist Competition Coordinator: Caroline Hartig (Hartig.15@osu.edu)
CONTEST RULES JUDGING

1. Application Fee: $65 USD. All applicants must be Judging of recordings will be conducted with no knowledge
members of the ICA and submit the Competition of the contestant. Do not include any identification on your
Application. audio files. There should be no speaking on the recording
Non-members wishing to apply may join the ICA by such as announcing of compositions.
going to www.clarinet.org and becoming a member. The Preliminary judging will be by recorded audition. Semi-finalists
application fee is non-refundable. will be chosen by committee. Notification will be sent by
2. Recording Instructions: Please provide a high-quality Monday, May 2, 2016. Semi-final and final rounds will
recording containing the following repertoire in the be held at the ClarinetFest 2016, in Lawrence, Kansas,
exact order listed. Repertoire must be recorded with August 3-7, 2016. Semi-finalists will receive a waiver of
accompaniment when appropriate. Any published registration fees for ClarinetFest 2016. Travel and other
edition is acceptable. Each selection/movement should expenses will be the responsibility of the contestant.
be listed as a single track, and should not contain your Visa and travel arrangements are solely the responsibility
name. Please be aware that the quality of the recording of the contestant.
will influence the judges. Recordings should not be Repertoire for the semi-final and final rounds of competition
edited and only continuous performances of entire works will consist of selections from the works listed in item 2. A
or movements are allowed. pianist will be provided for competitors in the semi-final and
a. Sonata for Clarinet and Piano, Leonard Bernstein, final rounds. Memorization is not required. All contestants
Boosey & Hawkes will accept the decision of the judges as final. Past first-prize
b. Quattro Pezzi A Giovanni Punzi per clarinetto solo winners are not eligible to compete.
(2012), Antonio Fraioli, Potenza Music All recordings will become the property of the ICA.
c. Le Tombeau De Ravel, Arthur Benjamin,
Boosey & Hawkes
3. A photocopy of the contestants drivers license,
PRIZES
passport or birth certificate as proof of age. First Prize $4,000 U.S. and a professional clarinet
4. Both the private teacher, if any, and the contestant attest Second Prize $2000 U.S.
in a separate written and signed statement that the Third Prize $1,000 U.S.
been edited. The Young Artist Competition is generously sponsored
5. A summer mailing address, telephone number in part by The Buffet Group, DAddario Woodwinds,
and email address should be provided. Email is the L. Rossi Clarinets, Henri Selmer Paris, and Yamaha.
preferred means of communication. Please check your
email regularly as this is how you will be contacted.
August 3-7, 2016
I am thrilled to invite you to the International

Clarinet Association ClarinetFest 2016 at
the University of Kansas (KU) in beautiful
Lawrence. Located in the picturesque rolling
hills 45 minutes west of Kansas City, Lawrence
boasts one of the greatest main streets in the nation,
bustling with shops, restaurants and galleries. The
University of Kansas, an integral part of this diverse
and educated community, is situated on Mount Come experience the latest instruments,
Oread, just minutes from downtown via a lovely mouthpieces, sheet music and accessories, as well
walk through tree-lined historic neighborhoods. As as the newest recordings and much more from
one of the major research centers of the region, KU world-class exhibitors. Trying some of the newest
has a reputation for excellence in all academic areas. products while visiting with our industrys highest-
All ClarinetFest activities will take place on the level clarinet equipment specialists is always one
University of Kansas campus, including in the world- of the highlights of the festival. These exhibits are
famous Lied Center, the Crafton-Preyer Theatre and open throughout the conference, so be sure to
the newly-renovated Swarthout Recital Hall. visit as often as you can! This is also a wonderful
Plentiful and comfortable accommodations opportunity to connect with other clarinetists,
are available, including the luxurious and award- manufacturers and leading innovators.
winning Oread Hotel located directly on the KU
The theme for ClarinetFest 2016 is
campus. SpringHill Suites of Lawrence, a Marriott
INSPIRATIONS and the event is indeed going
property, is a little over a mile from campus in the
heart of downtown Lawrence, with easy access to a to be quite inspiring. With an impressive roster of
diverse selection of dining, shopping, galleries, and performers, presenters and educators, some of the
museums, all convenient to KUs campus. Every suite finest clarinetists from all over the world will be
has a view of the Kansas River. Campus residence under one roof. The Merriam-Webster Dictionary
hall accommodations, located directly on the KU defines one aspect of inspiration as a person that
campus, are also available for budget travelers. makes someone want to do or create something.
These reasonably priced rooms include a daily ClarinetFest 2016 is partially centering around
three-meal plan. Additional information concerning the five clarinetists that inspired so much of our
accommodations is available on the ICA website. significant repertoire throughout the ages: Anton

contact director Raphael Sanders
(SUNY Potsdam) at sanderrp@
potsdam.edu.
Collegiate Clarinet Choir: Open to
all college, university and conservatory
students. For more information,
contact director Tod Kerstetter (Kansas
State) at tkerstet@ksu.edu.
Professors Ensemble: Open to all
collegiate professors and instructors.
For more information, contact director
Mitchell Estrin (University of Florida)
at mestrin@ufl.edu.
Plan air travel through the convenient
Kansas City International Airport
(MCI), a one-hour drive from Lawrence.
Ground travel options from the airport
include shuttle and rental car. Lawrence
also has an Amtrak station with travel
options from several major hubs. More
information on travel will be available on
the ICA website.
We are so excited to welcome you to
Stadler from the 18th century; Heinrich everything from classics to contemporary KU this summer. Join us for a great week
Baermann, Johann Hermstedt and Richard works throughout the week. of music, innovation, ideas, trying the
Mhlfeld from the 19th century; and Beyond experiencing one of the latest gear and meeting new friends. Pack
Benny Goodman from the 20th century. greatest performing lineups of clarinetists your bags and your best reeds, and well
In addition to performances of the music ever assembled, those attending the see you soon in Lawrence! v
they inspired, there will be opportunities conference this summer can participate
Dr. Stephanie Zelnick
to learn more about their lives and as a member of one of our ClarinetFest
Associate Professor of Clarinet
circumstances. Also on the schedule will clarinet choirs. The following groups
University of Kansas
be an interesting series of daily concerts, will rehearse during the conference and
Forgotten Gems, which will feature many perform on the last day: For the latest information,
masterworks that have been underplayed Festival Clarinet Choir: Open to please visit the ICA ClarinetFest 2016
but are wonderful and significant additions all attending. For more information, website at www.clarinet.org.
to the canon of clarinet repertoire.
The roster for this summers
ClarinetFest is especially impressive.
With an all-star line-up filled with
performances, master classes and
HEADLINING ARTISTS
presentations, this event will be one to Boris Allakhverdyan Metropolitan Opera, principal
remember. Several of the epic artists this Sauro Berti Teatro dellOpera di Roma, bass clarinet
year include the principal clarinetists from J. Lawrie Bloom Chicago Symphony, bass clarinet
some of the worlds leading orchestras, Henri Bok Renowned bass clarinetist
including the Metropolitan Opera, Philippe Cuper Paris National Opera, principal
Philadelphia Orchestra, Paris National Eddie Daniels Preeminent jazz clarinetist
Opera, Cleveland Orchestra and the Pierre Gnisson First Prize, 2014 Tokyo International Clarinet Competition
Teatro dellOpera di Roma. David Shifrin Richard Hawkins Oberlin Conservatory, artist faculty
Bil Jackson Vanderbilt University, artist faculty
will be joined by acclaimed pianist Andr
Benjamin Lulich Cleveland Orchestra, principal
Watts, the Mir Quartet and noted
Jacques Merrer Noted E-flat clarinet specialist
television actor Jack Gilpin in his program
Eugene Mondie National Symphony, assistant principal
An Unlikely Muse. This dramatic Ricardo Morales Philadelphia Orchestra, principal
musical tribute explores the relationship Fred Ormand University of Michigan (retired)
between Brahms and his clarinet muse, David Shifrin Renowned soloist and chamber musician
Mhlfeld. Eddie Daniels will give a Eddy Vanoosthuyse Brussels Philharmonic, principal
sizzling jazz performance and many Michele Zukovsky Los Angeles Philharmonic, principal (retired)
others will give memorable concerts of

published in 1968 and premiered that year
by Jacques Lancelot in Nice, France. The
original edition contained a significant
number of errors, as listed in two articles
written in 1998 by the highly respected
French clarinetist Philippe Cuper, in the
British Clarinet & Saxophone and the
French Clarinette Magazine. Additionally,
the original piano reduction was extremely
difficult to perform, with some pages
requiring the pianist to read complex
chords on up to four lines simultaneously
MUSIC Claude Franaix
(composers instead of two.
daughter) and Yet again, with this 2013 edition,
Jean Franaix. Concerto pour editorial collaborator Philippe Cuper
Tiziana de Carolis,
clarinette et orchestra. ditions notes a fair number of errors (see below).
2013. $25.00
musicales transatlantiques, Paris This new edition is good news for
(transatlantiques@musicsales.co.uk; Jean Franaixs accompanists, though, because it has a
rights transferred to Premire Music exquisite and simplified piano part, albeit still quite
Group: premiere@musicsales.co.uk). colorful clarinet complex and challenging to perform. The
No. ETR003001. Piano reduction by concerto was first clarinet part was reorganized to simplify
ERRATA FOR THE 2013 EDITION OF THE

JEAN FRANAIX CONCERTO FOR CLARINET
by Philippe Cuper
MOVEMENT I MOVEMENT IV
M. 8 The last note is fourth-space E (not D). M. 1 The first note of the second beat should be D-natural.
M. 20 The first three notes should be marked staccato. M. 82 Add the number 3 under the three sixteenth notes
M. 41 Should read Ne pas ralentir (not Ne pas refentir); to indicate sixteenth-note triplets.
translation: Dont play rallentando. M. 168 Add e = e
M. 111 The last note is E (not D). M. 198 The first note should be a staccato C-sharp,
M. 171 (cadenza) The second note of the third beat the following B-sharp and C-sharp should be slurred
should be A-natural (not A-sharp). sixteenth notes, and the next B-sharp should be a
staccato quarter-note.
MOVEMENT II M. 203 There is a half rest on the second beat; delete the
M. 113 The third note should be third-space C (not A). half rest before the third beat.
M. 160 The third note should be fourth-line D-sharp. Mm. 213-215 All the notes should be an octave higher
M. 170 The third note should be C-natural (not C-flat). with an indication of octava bassa ad libitum.
M. 216 Add e = e
MOVEMENT III
M. 232 and m. 236 The first and second beats should be
No errors.
slurred.

page turns. Some notes were corrected 2003. Bassoonist Mary Stuckemeyer consists of serious music lovers, new music
from the original edition, and all tempos and her spouse Pat own the record label explorers, and woodwind enthusiasts. Visit
were reduced (the composer explained that and publishing company. They also co- the composer at www.mikedambrosio.net.
his wind-up metronome was inaccurate). founded Just for Winds, an online sheet Michele Gingras
When the work was first introduced, music, instrument and musical accessory
some players found it almost unplayable. retailer for woodwinds. Joseph Kffner (adapted by Simeon
The clarinet part is in B major, leading One of their featured composers is Bellison). Fifty Progressive Duets from
me to believe it was composed on the Mike DAmbrosio, associate professor of the Klos Celebrated Method for Clarinet.
piano in A major, without immediate music theory and composition at Murray Carl Fischer. $12.99
regard for difficulties posed to the soloist. State University in Kentucky. Previously,
Some clarinetists experiment to simplify he taught at Jacksonville State University Best known for compositions for guitar,
fingerings by using and interchanging (Alabama), Oklahoma State University Joseph Kffner also wrote a set of duets
both B-flat and A clarinets, but I prefer and the University of Dayton. He received for oboe and clarinet, Op. 80. Adapted by
this light and refreshing music to be his doctoral and masters degrees in music Simeon Bellison and included in the Klos
played on the intended B-flat to match composition from the University of Celebrated Method, these became standards
tone with its light character, even though Cincinnati College-Conservatory of Music for generations of students. Here they
the key is very challenging. In fact, Jean where he studied with Joel Hoffman and are presented in an easy-to-read edition
Franaix once wrote a tongue-in-cheek Ricardo Zohn-Muldoon. Originally from extracted from the larger pedagogical
apology to clarinetists because of its Long Island, New York, DAmbrosio source. For teacher/student and student/
difficulty. However, todays advances in did his undergraduate work at Lehigh student playing, these duets cover all the
technique make it an increasingly popular University where he double-majored in necessary skills required for the myriad
work for performances and competitions music and accounting. combinations of articulation and slurs
all over the world. in performance, while allowing time for
DAmbrosio has won many awards and
Jean Franaix (1912-1997) is one of development of hand position, finger
his works have been performed by well-
the most well-known and often-performed movement and tone development.
known brass groups, youth orchestras and
composers in France. He studied in Nadia college ensembles in the United States, Robert Riseling
Boulangers composition class along with and at the 2008 Cultural Prelude to the
Ravel, Milhaud, Stravinsky, Poulenc and Olympics concert at the Forbidden City Nathan Ivan Kaplan. Concert Etudes,
Roussel. His works are played by the 18 unaccompanied etudes for B-flat
Concert Hall in Beijing.
worlds greatest orchestras and his clarinet clarinet. Edited by Lawrence Sobol.
Originally composed for oboe and
concerto is now considered a staple in our Kendor Music. $14.50
piano, Super Groove was commissioned
repertoire.
by oboist Celeste Johnson Frehner These etudes resulted from the
To listen to Jean Franaix perform
(Oklahoma State University) and collaboration of two friends during
one of his works on piano visit www.
premiered in 2012. The composer writes: their days at the Manhattan School of
JeanFrancaix.org. On another video a
I was trying to bring together my worlds Music. Nathan Kaplan enjoyed success
few clicks away, the composers grandson
as composer and music theory professor as a composer and Lawrence Sobol
describes him as a man who never
by taking some of the fun theory topics received recognition and numerous
followed new trends and who created
I get to teach (sonata form, chromatic awards as a performer, educator and
some of the most beautiful music in
France. In 1994, Jean Franaix was mediants, ostinato, polyrhythms and set author. Exploiting the clarinetists large
awarded the Arthur Honegger Prize theory) and squeezing them into a driving, and luscious-toned chalumeau register,
by Honegger himself, who referred to energetic and highly rhythmic texture. The the etudes were written for Sobol who
Franaixs music as simple, transparent, piece is extremely fun to play and has been recorded them at Jimi Hendrixs Electric
light, yet deep, youthful, humorous, fresh very well received by audiences. Lady Studios under Kaplans supervision.
and distinguished. DAmbrosio arranged Super Groove They are available at www.KendorMusic.
Since I studied this work with Lancelot for clarinet and piano in 2014 for his com. This new, revised edition is dedicated
in Nice only 12 years after he premiered it colleague Scott Locke. The clarinet version to Kaplans memory.
there with the Nice Chamber Orchestra, is almost identical to the original except Each etude is preceded by a short
Franaixs concerto has always been close to for a few changes in registers. Whereas a commentary on the substance and nature
my heart. It is a fantastically challenging, few bits and pieces are indeed groovy, of the piece with performance suggestions.
beautiful and meaningful work. most of the musical material is quite As mentioned in the description above,
modern legit in style. The writing is emphasis is on the lower range of the
Michele Gingras both lyrical and rhythmically energetic. clarinet and altissimo writing is limited.
Mike DAmbrosio. Super Groove for It contains polyrhythms, such as three Successive etudes expand the demands
clarinet and piano. Potenza Music, against two in the piano, has powerful on the performer in range, rhythm,
2014. Duration: 730 $24.95 moments and holds together well. In articulation, dynamics, rhythmic
terms of audience friendliness, I would organization and musical styles. Meant to
Potenza Music has championed new agree with the composer that the piece be included on concert programs, each is a
music by American composers since has appeal, most especially if the audience separate musical entity or the performer

could choose a few and group them. The Bach, Johann Sebastian. Air on the G intermediate group of high quality,
layout and printing are well-planned. String, for clarinet quartet (3 B-flats, but would be better with an advanced
There are practical suggestions for a few bass). Arranged by Richard Johnston, group that could handle the nuance
rhythmic and fingering problems. This is edited by Alan Woy. Kendor Music, well perhaps a high school or college
a good collection for students who have 2013. $8.95 group. Without question, this would be
established a solid grasp of the instrument. a welcome addition to any program, in
It can be used over several years. Gounod, Charles Francois. Funeral a concert or as an encore. The tune is
March of a Marionette, for clarinet appealing, the arrangement lays well on the
Robert Riseling
quartet (3 B-flats, bass). Arranged by clarinet, and the timbre of the instrument
Amir Zaheri. Two Girls and a Boy, for Richard Johnston, edited by Alan Woy. complements the tune. This arrangement
oboe, clarinet and bassoon. Potenza Kendor Music, 2013. $12.50 of this classic piece will have the audience
Music. Duration: 415 $21.95 and the players asking for more!
Chopin, Frederic. Minute Waltz, for The Minute Waltz by Chopin has a
Amir Zaheri is professor of theory clarinet quartet (3 B-flats, bass). duration under two minutes. The fast-
and composition and director of the Arranged by Richard Johnston, edited moving melody begins in the first clarinet,
Contemporary Ensemble at the University by Alan Woy. Kendor Music, 2013. then transfers to the second clarinet. The
of Alabama. A prolific composer for choral $12.50 third clarinet has the sustained melody
ensembles and solo voices, his more recent in the B section. The bass functions as
works include those for solo instruments, Richard Johnston has had an
the harmonic and rhythmic foundation.
chamber music and electronics. This trio is impressive career as a performer, educator,
Because this is in the key of E-flat,
dedicated to the Cavell Trio. Scott Hannah instrument repairman and arranger. He
fingerings might be awkward the
writes on the Potenza Music website: transcribes music primarily for clarinet
melodic line crosses the break repeatedly
quartet. Bachs Air on the G String,
Zaheri describes Two Girls and from B-flat to D in the first eight
Gounods Funeral March of a Marionette
a Boy as a musical conversation, for measures, which might prove challenging,
and Chopins Minute Waltz are truly
which he first wrote a story, then but helpful to a clarinetist needing
classics, and Johnston has done a superb
created a musical setting. He likens practice going over the break. Technically,
job of arranging them for the clarinet.
the piece to the film work of Woody this is the most difficult arrangement
Heard at many a wedding, Bachs Air on
Allen, which frequently features of the three and requires advanced
the G String has a sustained adagio tempo.
overlapping conversations, with intermediate players; however, the players
The beat note is the eighth note, and the
characters finishing one anothers would enjoy the piece so much that they
melody is passed around to each part. The
sentences. might overlook the fingering challenges!
four parts function independently, and
My hat is off to Johnston for these
The musical material is based on two the rhythms can be tricky, so four strong wonderful arrangements! They are suitable
octatonic scales beginning on C, the first players with a good sense of rhythm would for a variety of venues due to the diverse
in the oboe, the second in the bassoon. be essential. The bass clarinet carries the styles and popularity of the pieces. Paper
The clarinet employs notes from both. foundational bass line, and would require quality is excellent and printing easy to
As in conversation, eventually all three a good player to master the part with read. Each quartet includes a score in
instruments trade notes from both scales finesse. Marked Grade 4, it is not an easy which the printing, although smaller than
in a give-and-take exchange. Conflict and piece, and the players would need to be in the parts, is readable. All are housed in
agreement are expressed both rhythmically of a solid intermediate level. The duration a laminated folder.
and in musical material. Independent is 220, and it would be a good piece
lines suggest the players ignoring each to program on a concert, church service, Alice A. Meyer
other, but they are brought together with or an occasion where more somber music Antonio Gervasoni. The Garden of the
the same patterns, if not pitches from is required. Shadows for wind octet. Cayambis
the same scale, and the reiteration of the Brought to popularity by Alfred Music Press, 2013. Score and parts
initial C. Resultant harmonies fluctuate Hitchcock, the Funeral March of
between thirds, sixths, triadic mixing $36.90 Duration: 830
a Marionette is a classic, and this
and strong dissonances. Individual lines arrangement is delightful. The first clarinet Focused on promoting Latin American
alternate between passages of lyricism and has the melody throughout, while the chamber music, Cayambis Music
those of active rhythmic figures. Scott second, third and bass parts contain the Press offers several works by Peruvian
Hannahs preface to the score describes harmonic and rhythmic foundation. Each composer Antonio Gervasoni. He is
the ending as follows: As the piece part becomes more independent and professor of music composition for film
closes, each instrument gravitates to the engaged in the theme as the piece draws at the Universidad Peruana de Ciencias
second scale, the rhythms unify, and to an end. Despite the nature of the parts, Aplicadas in Lima.
ultimately each part has the satisfaction of the piece is challenging for all there Gervasonis four-movement octet
its individual final say, all on the starting are consistent staccato notes throughout for two flutes, two oboes (second oboe
pitch of C. different registers at all dynamics. This doubles on English horn), two clarinets
Robert Riseling arrangement could be done with an and two bassoons was inspired by two

works from English literature, H. G. the Preludio Andante con moto first Tango Clarinet Duets. Carlos Gardel,
Wells The Time Machine and Robert movement is scalar in G melodic minor arranged by Diego Collatti. Universal
Graves I, Claudius. Each brief movement and came to Brookes while on a favorite Edition, 2014. U.S. distribution by
in the octet effectively portrays a mood. walking route with Ferrige. The 6/8 Carl Fischer/Theodore Presser. $19.95
The first movement, The Garden, Scherzo-Rondo Vivace third movement
is somber, legato and in slow tempo. is built upon a six-note cipher of the Argentinian Carlos Gardel (1890-
Gervasoni uses each instrument in a dedicatees name. This rapid-paced motive 1935), born Charles Romuald Gards in
comfortable register and sensitively blends propels the movement from beginning Toulouse, France, is renowned for making
their colors. The Hunt emphasizes to end, though it is offset by several meno tango music internationally popular and
staccato rhythmic pulse in fast tempo. mosso passages of great beauty. especially for successfully setting words
Simple meter changes keep the thrill in The piano reduction is satisfying and its to the music. His international fame
the hunt. The Adoration of the Black moderate technical demands complement ended with a tragic airplane crash in
Moon is languorous at its outset with a the medium difficulty level of the solo Columbia. All the features of Gardels style
streamlined texture of just one flute, oboe, clarinet writing. Both part and score are are found in the five medium-difficulty
clarinet and bassoon. The English horn beautifully typeset in a spacious style. duet arrangements by Diego Collatti:
is added and then goes mute again. The Musikproduktion Hflich also publishes sentimental melodies, syncopation,
concluding movement, The Feast, recalls a full score and string parts for those chromatic inflection and a back-and-forth
the motoric orientation of The Hunt wanting to perform the original version ebb and flow to the line. Collatti makes
but is far richer in variety of meter a with orchestra. both clarinet parts equally interesting to
conductor would be a great aid. play. In Meloda de arrabal he several times
Gervasonis harmonic style is Gregory Barrett
joins a fleetly moving 16th-note line to the
moderately dissonant and his score is World Music: Balkan. Clarinet with melody. Por una cabeza is distinctive for its
nuanced with regard to dynamic markings piano or play-along CD. Arrangements slinky melody and contrasting minor-key
and articulations. This is a moderately by Hidan Mamudov. Universal middle section. El dia que me quieras (The
difficult work within reach of college-level Edition, 2013. U.S. distribution by Day You Love Me) is famed for the beauty
chamber ensembles. Carl Fischer/Theodore Presser. $23.95 of its melody. Collatti could not resist
Gregory Barrett adding several bars of clarinet-idiomatic
Clarinetist Hidan Mamudov has made arpeggios leading to the climax. Mi Buenos
Phillip Brookes. Concerto for Clarinet arrangements of seven traditional pieces Aires querido is less successfully arranged
and Strings, Op. 30 (1979). Version from Croatia, Hungary, Macedonia, due to several measures of awkward,
for clarinet with piano reduction. Bosnia-Herzegovina, Serbia, Turkey large-interval pianistic tremolos. Volver,
Musikproduktion Hflich, 2015. and Bulgaria and compiled them in the slower, Tempo rubato final selection,
28.00 a collection that ranges from easy to uses harmonically-gliding, flowing
moderately difficult. Two feature additive triplets in counterpoint to the melody.
Musikproduktion Hflich is a rhythms and most include non-Western
Munich-based consortium of musicians, Articulations, dynamics and phrasing
scales. From the included CD that are carefully notated throughout. Highly
musicologists and amateurs dedicated contains at least two selections with
to expanding the available performance recommended the rhythmic/stylistic
Mamudovs playing, it is evident that complexity is engaging.
literature through expertly-produced first he is an expert in this genre. Each of
editions of masterworks that were not the approximately one-minute pieces is Gregory Barrett
published upon completion. Every score
presented twice on the accompanying
has a scholarly preface (which can also be Johannes Brahms. Danses hongroises no.
CD. First is a full performance with
viewed online) to help bring to life the 1 et no. 5, originally for piano four-
an ensemble of bass guitar and varying
forgotten work. hands, arranged for two clarinets by
melody instrument (clarinet, violin, flute),
In 1979, Phillip Brookes (b. 1952), Joachim Forlani. Edited by Grard
harmony instrument (accordion, guitar)
composer, conductor and lawyer, was Billaudot. Collection Jean-Marc
and often percussion, then a second full
in love with clarinetist Anne Ferrige. In Fessard, 2013. U.S. distribution Carl
performance with the recorded melody
the spring, during what he describes as a Fischer/Theodore Presser. $12.95
instrument still in the mix, but greatly
period of continuous sunshine, he wrote
attenuated. Alternately, the live clarinetist Both of these boisterous dances are
the central Romanze movement. Being
can play with the printed piano part that notated in A minor. The melodies are
English, the Finzi Clarinet Concerto was a
includes useful chord symbols if additional shared between the performers and there
favorite of both Brookes and Ferrige, and
arrangements are desired. The score are plenty of audience-pleasing broken
Finzis lilting melodiousness and piquant
includes a page of brief notes encouraging arpeggios, colorful use of all registers (up
harmonizations are echoed in Brookes
the clarinetist to experiment with to altissimo A) and large accompagnando
work. The sustained lines in the clarinet
and accompaniment are expressively unwritten phrasing and ornamentation leaps. Clarinetist and arranger Joachim
heightened by several sweeping arpeggio that is a feature of Balkan music. Examples Forlani was a prize winner at the ARD
passages in the clarinet traversing two are provided from three of the tunes. contest in Munich, and is a member of
to three octaves. The main theme in Gregory Barrett the Orchestre de Chambre du Valais and

the Sinfonietta de Lausanne, and regularly
plays with the Orchestre National du
This funky, rhythmic Carl Maria von
Weber meets heavy metal concerto for
RECORDINGS
Capitole de Toulouse. He has also been a two bass clarinets is available with several Mozart 1791. Charles Neidich, basset
soloist at the Opra Comique of Paris. different accompanying forces. Who can clarinet and clarinet, conductor;
Gregory Barrett resist the Russell touch? Ayako Oshima, clarinet; Ensemble
Clarimonia: Jochen Seggelke, Bernhard
ADDITIONAL NOTEWORTHY Claudio De Siena. Martha Lullaby for
Ksling and Ekkehard Sauer, basset
PUBLICATIONS: clarinet and piano. Potenza Music, horns; Orchestra Solamente Naturali.
2015. $14.95 W. A. Mozart: Concerto in A, K. 622;
Keiron Anderson. Marsden Moor for
clarinet ensemble (E-flat, 4 B-flats, alto, Adagio in B-flat, K. 411; Adagio in F,
A tender A-B-A lullaby in flowing 6/8.
K. 580a; J. Drueck: Concerto in F
alto or bass clarinet, 2 bass clarinets,
Musikverlag Bruno Uetz. Halberstadt, for three basset horns and orchestra.
optional contrabass). Forton Music,
Germany. Bremen Radiohall Records BRH
2014
CD1402. Total time 51:51. www.
Appealingly independent parts in a If you are not familiar with the quality bremenradiohallrecords.de
pastoral, 144-bar, easy grade 2 or 3 arrangements and original compositions in
composition. the Uetz catalog, know that you will find
a variety of light, entertaining, moderately
Daniel Dorff. Three Little Waltzes for flute priced works for a range of ensembles
and B-flat clarinet. Tenuto Publications, with clarinet: duos, works with piano
distributed by Theodore Presser or organ, as well as chamber music with
Company, 2015. Duration: 6 $11.99 other woodwinds. My current favorite is
Chopinaise Potpourri nach Melodien von
Little gems with a Peter Schickele-esque Frederic Chopin for flute, clarinet, bassoon
whimsical quality. These duos rise above and piano arranged by Leslie Searle.
the mundane with interesting harmonic Melodies from eleven Chopin works
twists. Medium-easy. float by in rapid succession supported by
Armando Ghidoni. Yellow Green for syncopated beguine vamps.
3 B-flat clarinets and bass clarinet. rt Sojar Voglar. Arabesque for clarinet
Alphonse Leduc, 2014. sextet (E-flat, 2 B-flats, alto or basset This new CD released by Bremen
Another winner from Ghidoni. Here, horn, bass clarinet, contrabass or Radiohall Records features works of
contralto). Alry Publications, 2013. Wolfgang Amadeus Mozart and a single
the blues meets Baroque fugue. Medium
$15.00 Duration: 640 work of the relatively unknown and
difficulty (or harder if the Vivace tempo
pioneering Bohemian composer Ji
really flies). A little bit of everything in this many- Drueck. First up on this recording
Jonathan Russell. Bass Clarinet Double sectioned, modally inflected work: is the Mozart Concerto in A featuring
prominent contrabass clarinet, mixed Charles Neidich performing on a
Concerto for bass clarinet duo and wind
meter, hocketing interplay, chains of trills Schwenk & Seggelke basset clarinet
ensemble. Potenza Music, 2014. Full
and varied moods. Medium advanced. with Orchestra Solamente Naturali. This
score and CD containing printable
recording, performed entirely on historical
parts: $99.95 Duration: 15 Gregory Barrett instruments, is likely the most authentic
1790 instrumentation available to date.
For the first time, the work is performed
on a basset clarinet reproducing the
likely specifications of Anton Stadlers
instrument. This design is based on a
drawing of Stadlers basset clarinet in a
concert program from 1794.
This performance opens with a stunning
orchestral introduction by the Orchestra
Solamente Naturali. After hearing their
incredible sound, I immediately went to
their website and found this quote:
Solamente Naturali uses
period instruments, finds inspiration
in historical documents and is
united through passion, creativity,

and professionalism. But the special the group is a bit heavy-handed with
treat of the ensemble as its artistic dynamics that seem slightly affected, but
leader and concertmaster unveils the ensemble performs with clarity and
is spontaneity and naturalism, thoughtfulness throughout. specializing in woodwind repair
hence the name Solamente Naturali This CD is highly recommended for
Simply Natural, as their version of the period clarinet completist. Serving
the musical past. Robert DiLutis
This performance clearly affirms their
Dallas/Ft. Worth
mission. Their playing is extremely artistic Fine Tune. Calvin Falwell, bass clarinet;
University of South Florida (USF)
since 2007
with flawless intonation, thoughtful
phrasing and natural classical style. This Faculty Chamber Ensemble, conducted Repairs by appointment
group is clearly comprised of artists that by Todd Craven (Hallman); USF Services include:
have mastered these instruments and Percussion Ensemble, conducted by
perform regularly together in this style. At Robert McCormick (Thomas); USF professional overhauls
Symphony Orchestra, conducted by
routine maintenance
times, I forgot that these were not modern
William Wiedrich (Goodman). J.
crack repair
instruments. Neidichs performance of the
Hallman: Concerto for bass clarinet; D.
tone hole repair
work is extremely confident and genuine. tenon repair
However, this recording misses the Bennett Thomas: Fine Tune for bass acoustical work
target for me in a few areas. Inconsistent clarinet and percussion ensemble; T. mechanical silencing
phrasing styles between the orchestra and Goodman: Concerto for bass clarinet equipment consultation
soloist create a feeling at times of soloist and orchestra. Potenza Music PM1041. studio visits
versus orchestra. Although balance is Total time 50:00. www.potenzamusic. repair/maintenance
excellent, an incredible feat in itself with com masterclasses
a basset clarinet, I would have preferred a
more cohesive interpretation. The basset Contact Heather Karlsson:
clarinet intonation in this recording also Phone: 469.546.7097
wavers too much for my taste and I found Email: hkarlssonww@gmail.com
myself often distracted from an immersion www.hkarlssonwoodwinds.com
in Mozarts emotional message.
Next is the Concerto in F for three
basset horns by Ji Drueck. This Also available:
wonderful work is rarely performed.
Artfully performed by Ensemble
Clarimonia, this work is reminiscent of
the Johann Melchior Molter (1696-1765)
concertos. The group does a beautiful job
transforming these simple melodies into a
wonderful blended sound that only three
basset horns can achieve. Unfortunately, Calvin Falwell is currently third and
the intonation is a hindrance and the bass clarinet of the Sarasota Orchestra and
challenges of the instruments detract professor of clarinet and bass clarinet at
from an otherwise good performance. The the University of South Florida and The
orchestral playing is again virtuosic and College of New Jersey. During the summer
first rate, which is especially evident in the months, he performs with the Ash Lawn
finale of the third movement. Opera Festival in Charlottesville, VA, and
Concluding the disc are two Mozart Green Mountain Opera in Barre, VT.
Adagios; the Adagio in B-flat for two His former teachers include Paul Demers
clarinets and three basset horns and the (Philadelphia Orchestra), Ron Samuels
Adagio in F for clarinet and three basset (Pittsburgh Symphony Orchestra), Tim
horns. These short, six-minute works Zavadil (Minnesota Orchestra), Dallas
exemplify the incredible compositional Tidwell (Louisville Orchestra), Daniel
technique of Mozart. Effortless-sounding Lochrie (Nashville Symphony) and Scott
melodies are showcased in both of these Locke (Murray State University). Falwell
Adagios, and the beautiful vocal quality holds degrees from the University of Want to see repair projects,
unusual instruments, newly arrived products,
of this writing is achieved by the period Louisville and Duquesne University. He is and cute-yet-cynical shop mascots?
clarinet and basset horn. I found these devoted to furthering new music through Become a fan!
pieces to be uplifting, yet tender. At times, the premiere and performance of new http://www.facebook.com/hkarlssonwoodwinds

works. Here, he presents a recording of a work that equalizes three markedly cultural heritages and enlisted Guenther
three recently-commissioned concertos for different ensembles chamber ensemble, Huesman, Claudio Puntin and Steffen
bass clarinet by Joseph Hallman, David percussion ensemble and symphony Schorn to further refine the project. Stavros
Bennett Thomas and Todd Goodman. orchestra. In addition, the bass clarinet Pazarentsis, Slobodan Trkulja, Sergiu
Philadelphia composer Joseph Hallman writing here seems the least inspired. Balutel, Oguz Bykberber, Tobias Klein
has penned a concerto that wonderfully However, virtuosic bass clarinetists and Orlin Pamukov joined Puntin and
showcases the bass clarinets unique such as Calvin Falwell continue to expand Schorn to form the clarinet choir utilized
attributes. Hallman, recently named by the instruments capabilities and inspire throughout the disc.
National Public Radio as one of their 100 composers to consider it as a solo voice. I Each featured work is an outstanding
Composers Under 40, has composed a highly recommend this recording for those arrangement of an original composition
series of chamber concertos akin to Bachs interested in new bass clarinet repertoire from one of the artists themselves. Since
Brandenburg Concertos and Hindemiths and fine bass clarinet performance! the players are from throughout Europe
Kammermusik. This noteworthy live and the Balkan countries, no single idiom
recording from 2011 of Hallmans Concerto Gail Lehto Zugger
of clarinet playing is dominant and the
for bass clarinet features assured playing by Many Languages One Soul: Balkan listener is treated to a great deal of variety.
the USF Faculty Chamber Ensemble and Clarinet Summit. 14 performances of I was particularly taken by the lyrical
well-coordinated direction by Todd Craven. music for instruments of the clarinet sweeping gestures of Nostalgic Dances, one
Falwell plays boisterously where needed, of two compositions by Stavros Pazarentsis,
family from Athens, Belgrade, Novi
with an enviable evenness and control of and the outstanding virtuosity of Sergiu
Sad, Ankara, Istanbul, Izmir, Sofia,
tone throughout all registers. Hallmans Balutel (as well as the rest of the group) in
Salonika and Braov, presented by S.
writing requires remarkable flexibility, and his high-energy contribution titled Breaza.
Pazarentsis, S. Trkulja, S. Balutel, O.
Falwell meets the challenge. Because each of these compositions is a new
Bykberber, O. Pamukov, T. Klein,
David Bennett Thomas 2012 piece arrangement of traditional Balkan music, I
C. Puntin and S. Schorn. Pirhanha
Fine Tune, the title work for this recording was not previously familiar with any of the
Musik Berlin. Total time 72:57. www.
project, is scored for bass clarinet and content found on this disc.
piranhashop.de and www.Amazon.com
percussion ensemble. Thomas teaches at The recordings are taken from live
the University of the Arts in Philadelphia performances, so listeners will occasionally
and holds degrees from West Chester encounter applause in unexpected places.
University and the Peabody Conservatory. However, the high quality of the players
His primary teacher is Lukas Foss, with performances is unaffected, as they produce
additional study with Steven Mackey, a live recording with studio polish.
Ron Thomas, Jacques Voois, Michael As a whole, the Balkan Clarinet
Connell and Donald Chittum. Thomas Summits work on this recording is
work shows that the bass clarinet timbre remarkable and it should serve as a
melds well with percussion instruments. valuable resource for students, instructors
Falwell adeptly handles the contemporary and aficionados. Those unfamiliar with
technical challenges presented here, the clarinets rich history in the nations of
such as pitch-bending, delay effects and Southeast Europe will find it particularly
altissimo. The USF Percussion Ensemble, stimulating. It is my sincere hope that the
led by Robert McCormick, maintains compositions recorded on this disc are
great balance with the soloist in this work published so that clarinetists may explore
of complex rhythm and harmony. This first offering by the Balkan Clarinet the pieces for themselves!
Todd Goodmans Concerto won Summit is a fantastic gaze into the depths
of gypsy and Balkan clarinet music with Joel Auringer
third place in the 2011 American Prize
for Orchestral Composition. Another artists from Greece, Serbia, Moldavia, the Clarinet at Maryland. Robert DiLutis,
Pennsylvania composer, Goodman holds Netherlands, Bulgaria, Switzerland and clarinet; Yin Zheng, piano. J. Horovitz:
degrees from the University of Colorado Germany. The projects recording label, Sonatina; G. Donizetti: Etude; F.
at Boulder, Duquesne University and Kent Piranha Records, is an independent music Poulenc: Sonata; J. Brahms: Sonata
State University. He currently serves as the label based in Berlin, and this is their first in F Minor, Op. 120, No. 1. Artist
resident composer for the Lincoln Park release of clarinet music. produced JD 005. Total time 52:26.
Performing Arts Center located outside Aside from the music itself, one of the www.reedmachine.net and gumroad.
Pittsburgh, Pennsylvania. From the liner most fascinating elements of the disc is com/reedmach
notes, this piece is a passionate journey the story of how the players of the Balkan
of the relationship between a child and Clarinet Summit came together to rehearse Robert DiLutis is currently professor
a parent. Of the three works, this is my and record. The director of the Athens of clarinet at the University of Maryland
least favorite presentation; the recording branch of the Goethe-Institut, Wolfgang at College Park and principal clarinet of
seems less clear than the other two works, Phlman, sought out local experts in the Baton Rouge Symphony Orchestra.
highlighting the challenge of recording clarinet performance from different Previously, he has served as professor of

In the Poulenc Sonata, once again the
duos energy abounds. The first movement
begins with the appropriate vigor and
the last movement is as fast and clean as
possible. The duos approach to the second
movement particularly stands out. The
colors both DiLutis and Zheng achieve are
lovely, and it is a pleasure to hear DiLutis
lyrical and emotional approach to shaping
the melodic lines.
The duos interpretation of the Brahms
Sonata in F Minor does not stray from
the composers intent. A standard tempo
and approach to expressive design are
clear in the first movement. In the
clarinet at Louisiana State University second movement, the duos rubato and Orchestra respectively, recorded this disc
and the Eastman School of Music, and shaping of the lyrical lines hold close to in Symphony Hall in 2013, thus fulfilling
as assistant principal clarinet of the a traditional performance practice. The Kalabis wish.
Rochester Philharmonic. His teachers third movement flows beautifully between One of the most distinguished
include William Blayney at the Peabody the clarinet and the piano. The tempo for 20th-century Czech composers, Viktor
Conservatory and David Weber at the this movement is tricky. If too slow or too Kalabis music and artistic voice were
Juilliard School. fast, one loses the character of a Viennese suppressed for much of his life. Initially,
This is a new recording of four standard waltz. The duos tempo was perfect. The this persecution was the result of the Nazi
works from the clarinets traditional fourth movement, once again, is held to occupation of Prague during World War
repertoire. In addition to this disc, its customary interpretation. II. Later, his rejection of communism
one may download a video of DiLutis This recording provides the listener with was the cause. Kalabis revered Bohuslav
and Zheng performing these works traditional interpretations of staples of the Martin and served as president of the
on DiLutis website. According to the clarinet repertoire. I would not hesitate Martin Foundation. Additionally, he was
website, a third part of this project, which to recommend it as an example of one a great admirer of elder contemporaries
will include an instructional video about convincing way to approach these works. such as Bartk, Kodly and Stravinsky.
both collaboration and clarinet technique, In particular, the Donizetti is a distinctive His style is distinctive with strident,
should be available soon. contribution. DiLutis approaches this work colorful, contrasting harmonies and lyric
Throughout the recording, DiLutis in a charming and operatic manner, rather chromaticism, showing the influence
sound is pleasing. It combines darkness than as a mere technical exercise. of Stravinsky and Bartk. However,
with enough brightness to make the Amanda McCandless Kalabis developed his own distinctive and
technical passages shine. The balance appealing compositional voice.
between the piano and the clarinet is quite Viktor Kalabis. Thomas Martin, clarinet; The first work on this CD, Variations
good. However, at times, such as the third Richard Sebring, horn; Kai-Yun Lu, for Horn and Piano, begins and ends
movement of the Horovitz Sonatina, I clarinet; Vytas J. Baksys, piano. V. with the same plaintive, elegiac melody,
would have preferred the clarinet to be Kalabis: Variations for Horn and Piano, framing a section of building tension
more prominent. Their interpretation of Op. 31; Invocation for Solo Horn, Op. and agitation. In the Variations as well
the Horovitz is energetic. In particular, the 90; Suite for Clarinet and Piano, Op. as the Invocation for solo horn, Richard
chosen tempos in the outside movements 55; Sonata for Clarinet and Piano, Op. Sebring conveys Kalabis dramatic intent
are very exciting. The first movement 30; Three Impressions for 2 Clarinets, by building intensity and momentum,
of the Horovitz begins faster than the Op. 87. Terezin Music Foundation while demonstrating fine dexterity and a
composers marking. Although I prefer TMF140227. Total time 56:09. www. no-nonsense approach to execution.
terezinmusic.org and Amazon, iTunes,
a calmer tempo for this movement, this The works for clarinet share dramatic
CD Baby
performance presented a convincing similarities and the Suite for Clarinet and
rendition at this lively pace. When Czech composer Viktor Kalabis Piano shows the influence of Stravinsky.
The Donizetti study, a technical visited Boston from Prague, he was The first movement progresses rhythmically
challenge for most clarinetists, is enchanted by the orchestra and Symphony with plentiful color and contrast between
performed with sensitivity throughout. Hall. His wife, Zuzana Ruikov, the clarinet and piano. The second
DiLutis is true to the dynamic markings remembers him wistfully sighing, Would movement, in the character of an elegy,
and the character of the lines, which is that a work of mine could be played here. evokes a feeling of profound sadness. The
refreshing. One must approach works by Clarinetist Thomas Martin and hornist third movement could have been extracted
composers steeped in Italian opera with Richard Sebring, associate principal directly from Stravinskys LHistoire du
lyricism, drama and flexibility. DiLutis and principal players in the Boston Soldat. The dryness of the melody creates
succeeds with this recording. Symphony Orchestra and Boston Pops the mood of the movement with sharp,

BEHOLD THE
biting staccato, crisp rhythm and quick Jay Jay Bee for Clarinet Solo; Yom: Mose;
tempo. This light and energetic movement Yom/trad.: Rve de lEnfant; D. Pajdzik:
left me desiring additional movements. It Gets Worse. JB Records JBR 017-2;
RECTANGLE
In the Sonata for Clarinet and Piano, QBK Records QBK 011. Total time
the individual lines of the clarinet and 51:40. www.jblrecords.com.pl and www.
piano evoke emotion and depth in the qbkrecords.com
first movement. The melody abounds with Agents of Espionage. Brian Viliunas,
chromaticism and strong rhythmic drive. clarinet; Jeffrey Flaniken, violin;
Frequent tone clusters and bitonality in the Donald Sanders, piano; Kathryn Fouse,
piano are strongly laced with chromatic piano. M. Lackey: Paths of the Seas,
melodic content. The second movement Particles; R. Springler: Spectacular Time;
contrasts with a plaintive quality in the Z. Bramble: To American Innovation,
clarinet melody. The piano is subservient Sonata, Agents of Espionage. Potenza
to the clarinet in this movement, acting Music PM1045. Total time 52:00.
mainly as a bed of subtle harmonic color. www.potenzamusic.com
When compared to the other works on Spring Fantasy. Jeremy Reynolds, clarinet;
the disc, this sonatas third movement Gal Faganel, cello; Caleb Harris, piano.
shares a sense of strong inner emotion in N. Rota: Trio; P. Merk: Astrazioni,
its slow, melancholy middle section. This Op. 23; R. Muczynski: Fantasy Trio;
movement, which is twice as long as the C. Frling: Trio in A Minor, Op. 40.
prior movements, is a kaleidoscope of Potenza Music PM1044. Total time
temperaments. The sudden changes provide 69:19. www.potenzamusic.com
the listener with an array of tonal color and Link at His Very Best. Larry Linkin,
unexpected direction. clarinet; Terry Harrington, saxophones;
Three Impressions for 2 Clarinets is Murray Middleman, saxophones;
a brilliant work that shows Kalabis Bobby Shew, trumpet; Roy Wiegand
inspirations with his use of bitonality, tonal III, trumpet; Dan Fornero, trumpet;
palette and dissonant harmonic language. Tony Terran, trumpet; Roy Wiegand,
The agility of both Martin and Lu is Jr., trombone; Don Vincent, piano;
impressive. After listening to this work, I Ross Tompkins, piano; Richard Simon,
found myself contemplating the obscurity bass; Ernest McDaniel, bass; Doug
of Kalabis music, as it is captivating, MacDonald, guitar; Ron Anthony,
skillfully written and gratifying. guitar; Jack LeCompte, drums; Elvio
I found this CD quite enticing Ditta, drums; Billy Hulting, percussion
with good variety in the programming. & vibraphone. Thirteen tracks
Throughout, I found myself wanting to consisting of Dixieland, jazz, and blues
hear more. Thomas Martin is obviously standards in big band arrangements by Now In Sizes 62-68
a skilled and talented artist. His Don Vincent. Whoelsebut Records. For Optimum Tuning.
interpretation and proficiency surmount Total time 47:05. www.whoelsebut.com
the technical obstacles in these works Follow the Stick. Sam Sadigursky, Locks In Intonation &
clarinet; Chris Dingman, vibes &
to make this recording memorable. The
talents of Kai-Yun Lu, Vytas J. Baksys and marimba; Bobby Avey, piano; Jordan
Promotes Ease Of Play
Richard Sebring are impressive and earn Perlson, drums, percussion; Jason Through All Registers.
high commendation. I highly recommend Palmer, trumpet; Ljova, viola. J.
this CD and will consider works of Grey/E. de Lange: String of Pearls; S. Rotates To Personalize
Sadigursky: Fast Money, 3+2, Mule,
Kalabis for my next recital program.
Do the Dance, Austerity Measures,
The Playing Experience!
Lori F. Ardovino
Looks Can Be Deceiving, Reach, (Complete Geeky Explanation
Lifes Flowering, Deadly Sins, Touch, For Why It Is So Extraordinary
RECENT Heart, Math Music. Brooklyn Jazz
Underground Records BJUR 056.
Available On Our Website.)
ARRIVALS Total time 75:11. www.bjurecords.com

Clarinet Music by J. & A. Semler-
La Carte. Jan Jakub Bokun, clarinet; Collery. Hedwig Swimberghe, clarinet;
Jakub Kociuszko, guitar. J.S. Bach: Dana Protopopescu, piano. A. Semler-
Arioso; F. Schubert: Arpeggione Sonata, Collery: Cantabile et Allegro; J. Semler- Rovner Products Are Covered By One Or More U.S. Patents.
Additional Patents Applied For. See Website For Details.
D. 821; C. Debussy: Arabesque No. 1; P. Collery: Fantasie et danse en forme de
Smutn: Dolor Amoris; Piotr Szewczyk: gigue, Lied et final, Reverie et scherzo, 10 www.rovnerproducts.com

Etudes de concert. Artist produced. Total Impromptu, Op. 72; V. Nossow: Marchenkova: Sommer Farbenspiel ber
time 47:23. Walz Junior; N. Marchenkova-Frei: dem Bodensee; G. Rossini: Introduction,
Clari 10 X Curso Julin Menndez, Augurio; G. Lyashenko: Con Amore; H. Theme and Variations; P.I. Tchaikowsky:
vila 2005. Henri Bok, Radovan Swimberghe: My Tune 1, Le Printempos Andante cantabile; J. Tassyns: Vocalise;
Cavallin, Silvye Hue, Philippe Leloup, sannonce, My Tune Too! Artist M. Ravel: Pavane pour une infant
Alberto Rodrguez, Pedro Rubio, Luis produced. Total time 61:36. dfunte; G. de Kerpel: Clarichor; R.
San Sebastin, Justo Sanz, Hedwig Pages of Life. Hedwig Swimberghe, Sabine Boutry: Aires Abulenses; F. Mendelssohn:
Swimberghe, Cuarteto Alhambra, Schmitz and Philip Sierens, clarinet; Tarantella, Op. 102, No. 3. World Wind
Alumni of the 10th Julin Menndez Isidro Santos, bass clarinet; Emilia Music WWM 500.106. Total time
Clarinet Course, clarinets. R. Boutry: Zenko, bassoon; Laure Campion, 74:25. www.mirasound.nl/wwm
Aires Abulenses; D. Loeb: Fantasa sobre soprano; Inna Poroshina, piano. Nadiya East Meets West. Jun Qian, clarinet; Kae
Por qu lloras blanca nia; P. Iturralde: Poklad: Pour Toi for solo clarinet; Danse Hosoda-Ayer, piano; Hu Jianbing,
Miniatura Impromptu; M. Castell: Fantastique for solo clarinet; Variations sheng; Scott Steele, percussion; Jing
Zhou, guzheng. J. Zhou: The Four
Madre Teresa; M. Ravel: Pavana for clarinet, bassoon and piano; Les
Gentlemen Among Flowers for clarinet
para una infant difunta; Rodrigo/C. Pensees for solo clarinet; Sonata for
and guzheng; K. He: Soliloquy Wings
Corea/R. van Bavel: Adagio/Spain; clarinet and piano; Une Tendresse for
for solo clarinet; A. Wang: The Feeble
J. Van der Roost: Rikudim. Artist solo clarinet; Una Imagen Espanol for
Breeze, The Sullen Spring for clarinet,
produced. Total time 50:05. solo clarinet; La Lune et Les Etoiles for
percussion and guzheng; Z. Long:
Why Not? Hedwig Swimberghe, clarinet; bass clarinet and piano; Derwishs Prayers Taiping Drum for clarinet and piano;
Inna Poroshina, piano. A. Lonque: for solo clarinet; Agnus Dei for soprano, C. Yi: Three Bagatelles from China
Introduction et danse rustique; J. Bauer: clarinet and piano; Les Versions for solo West for E-flat clarinet and sheng; J.
Rondo kwartowe; J. Absil: Sicilienne; clarinet; Partite for clarinet quartet. Qian/J.B. Hu: New York Improvisatory
J. Feld: Scherzino; B. de Crepy: Artist produced. Total time 58:08. Dialogue for clarinet and sheng; Q. Li:
Repliques; J.M. Ruera: Meditacio; L. Brussels Clarinet Choir. Arrangements We Song Fights the Tiger for clarinet and
Cahuzac: Cantilene; W. Hildemann: and original works for clarinet choir. electroacoustic music. Albany Records
Ritmi Dispari; M. Reger: Romanze in Hedwig Swimberghe, clarinet and TROY1528. Total time 59:12. www.
G Major; I. Bazel: Elegie and Scherzo; conductor; Evy Roelants, soprano. albanyrecords.com
G. Bacewicz: Easy Pieces; M. Deroo: T. Albinoni: Sonata in G Minor; N. CrossOver. Andrew DeBoer, clarinet; Qing
Nadia Feeken, piano; with Katherine
C C
Palmer, clarinet; Melissa Vaughan,
C
clarinet; Matthew Miracle, bass clarinet.
C
Nikola Resanovic: Sonata for clarinet
and piano; The Ox and the Lark for two
clarinets; Four Miniatures for clarinet
alifornia larinet linic trio; Thunder-Blossom for solo clarinet;
Analogues for clarinet and bass clarinet;
Explore the connection between performance success and your mind & body alt.music.ballistix for clarinet and
C
in beautiful Los Angeles! recording. Artist produced. Total time
55:57. www.potenzamusic.com
Violet Convergence Viola Works on
Clarinet. Andrew DeBoer, clarinet
and arranger; Qing Nadia Feeken,
piano; Gail Novak, piano. Y. Bowen:
Julia Heinen Andr Moisan Stephan Vermeersch Peter Wright Michele Zukovsky
Sonata No. 1 in C Minor, Op. 18;
Phantasy in F, Op. 54; Romance in
C
Sunday, June 19 - Thursday, June 23, 2016 D-flat; Sonata No. 2 in F Major, Op.
22. Artist produced. Total time 70:28.
Tuition - $950.00 www.Amazon.com, iTunes, and www.
Private Lessons & Masterclasses with a World Renowned Clarinet Faculty cdbaby.com/cd/andrewdeboer3
Visualization and Imagery for Performing and Audition Success Atonement. Kimberly Cole Luevano,
Conquering the Stage Fright Beast clarinet; Midori Koga, piano; Lindsay
Mental Strategies for Optimal Performance
Kesselman, soprano. J. Higdon:
h Levi Tracy Creating Powerful Anchors to Trigger Great Performance
Alexander Technique & Breathing & Yoga & Pilates for Clarinetists Clarinet Sonata; K. MacMillan: The
es Kanter Country Wife; K. Bunch: Cookbook; E.
Chambers: Atonement. Fleur De Son
californiaclarinetclinic.com Applications due by May 1, 2016
Classics FDS58028. Total time 63:26.
Check out our website for more information!!!
www.fleurdeson.com
Tornado Project. Esther Lamneck,

clarinet; Elizabeth McNutt, flute. clarinet; Calvin E. Burke, narrator; den Herder: Clarinet Quartet. Artist
R. Climent: Russian Disco; R. Rowe: Christian Gruber, guitar; Tobias Ott, produced. Total time 51:40. www.
Primary Colors; P. Wilson: Beneath the tabla. K. Maerkl: The Snake Charmer. kuriosklarinetkwartet.nl
Surface; A. May: Still Angry; E. Lyon: Atlantic Crossing Records ACR 0007. The Lyric Clarinet. F. Gerard
Trio for flute, clarinet and computer; Total time 36:25. CD, manuscript Errante, clarinet and arranger;
R. Pinkston: e++. Ravello Records and sheet music are available at www. Philip Fortenberry, piano; Voltaire
RR7908. Total time 58:47. Additional atlantic-crossing.com Verzosa, piano; D. Gause, piano.
content including study scores, liner Piotr Moss. Jean-Marc Fessard, clarinet; C. Guastavino: La rosa y el sauce, El
notes, biographies and credits is Jadwiga Rapp, alto; Polish National Sampedrino, Milonga de dos hermanos;
available at www.ravellorecords.com/ Radio Symphony Orchestra in J. Duke: I Carry Your Heart; C.
tornadoproject Katowice; Michal Klauza, conductor Debussy: Beau soir, Mandoline, Clair
Payne/Lindal/Liebowitz. Bill Payne, (Dun silence); Jerzy Maksymiuk, de lune; F. Poulenc: Bleuet, Les Chemins
clarinet; Eva Lindal, violin; Carol conductor (Loneliness). P. Moss: Dun de lamour, Htel, Voyage Paris; D.
Liebowitz, piano. B. Payne/E. Lindal/C. silence; Loneliness. Dux Recording Gause: Lunar Lace; R. Schumann:
Liebowitz: Ever Since, It Happened This Producers DUX 1118. Total time Widmung, Er der Herrlichste von allen;
Way, Unspoken, B/E, If Then, Glissade, 68:03. www.dux.pl J. Brahms: Wie Melodien zieht es mir,
Preludes, Holus Bolus, What We Are Triple Dutch. Kurios Clarinet Quartet: Vergebliches Stndchen, Botschaft; F.
Saying, Blue Flame, til Always. Line Art Boujke Musch, E-flat and B-flat Schubert: Nacht und Trume; S. Barber:
Records A1001CD. Total time 56:33. clarinet; Peter Koetsveld, clarinet; Sure on This Shining Night; L. Laitman:
www.lineartrecords.com Corien Hoepman, clarinet and basset The Apple Orchard; A. Ginastera/S.
The Snake Charmer. This project explores clarinet, Mark Snitselaar, bass clarinet. Sondheim: Triste/Send in the Clowns.
a very special moment in Indias history J. Andriessen: Clarinet Quartet; H. Ravello Records RR7886. Total time
through words and music. Kim Maerkl, Tomp: Clarinet Quartet No. 2; F. 60:28. www.ravellorecords.com
AUDIO NOTES
by Christopher Nichols Bassis Gran Duetto Concertato Sopra
Motivi dellOpera La Sonnambula for
Since my appointment in September 2015 E-flat clarinet, B-flat clarinet and piano.
as Audio Reviews Editor for The Clarinet, Along with Bassi and Ernesto Cavallini,
I have had the privilege of examining and familiar composers of Italian opera
listening to numerous quality offerings fantasies, Bandieri introduces works
from artists around the world, many by two obscure composers, Giuseppe
previously unfamiliar to me. I am totally Cappelli and Giacomo Panizza. A
enamored with the depth and breadth of summary of the discs contents is available
excellent clarinet performance in recorded in the Recent Arrivals section of June
music today! 2015s Audio Notes.
I received three excellent recordings Bandieri performs on the E-flat
from Italian clarinetist Davide Bandieri: Il clarinet at a level many hope to achieve
Clarinetto Piccolo allOpera, Tentative on the soprano clarinet. His performance
Winds 2006-2011 and Ferruccio & throughout is exceptional. Virtuosic
Ferdinando Busoni: Complete Music orchestras throughout Europe under passages are executed with ease; intonation
for Clarinet. Each is a remarkable conductors such as Claudio Abbado, and ensemble with pianist Duncan
Riccardo Muti and Kent Nagano. Gifford are excellent. Bandieri intimately
contribution in its own right to the
Since 2008, Bandieri has promoted the understands the meaning of the text in each
scholarship and discography of the
Collection Davide Bandieri project, which fantasy, expressing the full gamut of human
clarinet. Bandieri currently serves as
is a set of new works for E-flat clarinet emotion embodied by the source material.
principal solo clarinet of the Lausanne
published by Periferia Music. A more The performance of Ernesto Cavallinis
Chamber Orchestra in Switzerland. treatment of the revered Il Carnevale di
His pedigree is impressive, citing detailed biography is available at www.
Venezia is a particular standout, as Bandieri
Fabrizio Meloni, Karl Heinz Steffens davidebandieri.com.
flawlessly negotiates extreme register leaps
and Alessandro Carbonare as principal Il Clarinetto Piccolo allOpera: between the chalumeau and altissimo
teachers. Prior to his position in the 19th-Century Italian Music for Piccolo registers. He transcends the instrument,
Lausanne Chamber Orchestra, Bandieri Clarinet and Piano will delight the E-flat with only fleeting moments of timbre and
served as piccolo clarinet (as the E-flat clarinet enthusiast, particularly those in intonation issues one commonly associates
clarinet is known in Italy) in the Madrid search of quality solo repertoire for this with the E-flat clarinet.
Symphony from 2004 to 2011. He instrument. Nearly every selection was My only criticism concerns the final
has performed with a wide variety of new to me, with the exception of Luigi track, Bassis Gran Duetto Concertato

Sopra Motivi dellOpera La Sonnambula, of instrumentations. These contributions with sonorities from various types of
when Bandieri and Gifford are joined by to our repertoire are the result of Davide transportation, the sounds of Havana,
clarinetist Javier Balaguer Domnech. Bandieris commissioning activities between Cuba, and the infinite flow of water. To
I would have liked to hear Domnechs 2006 and 2011 during his employment fully experience the overall effect created
contribution to this performance more with the Madrid Symphony Orchestra. by this works use of binaural recording
clearly; he sounds distant in comparison This disc opens with Eduardo Morales- techniques, a fine stereophonic setup
to Bandieri. However, this is a relatively Casos (b. 1969) Hiranyagarbha for E-flat is essential!
minor complaint. Willy Merz (b. 1964) contributes the
clarinet, violin and piano, composed in
2010. Here, Bandieri is joined by violinist single work for unaccompanied E-flat
Yoshiko Ueda and pianist Duncan clarinet on this disc, titled Points: Espace
Gifford. In the liner notes, Morales-Caso (2008). Merz exploits the full expressive
cites his inspiration for Hiranyagarbha range of the instrument, both in regard
to traditional and extended techniques.
in the Hindu cosmological conception
Bandieri easily negotiates every challenge,
emerging from the golden ratio. He
demonstrating his mastery of flutter
describes the work as a fantasy which
tonguing, portamento and facility in every
delicately unveils a marvelous dream-
extreme available on the instrument.
landscape in which the colour leads us, Marcello Bonanno (b. 1975) joins
like a cyclic personage, through the subtle Bandieri for his work Spettri (2010) for
combinations of timbre revealed to us by E-flat clarinet and piano. He attributes
the discourse. The composers impetus Davides pure sound on the instrument
is irrefutably realized in a technically as an inspiration for the composition.
and musically virtuosic performance by Poised at the midpoint of the disc, the
The next disc, Tentative Wings Bandieri, Ueda and Gifford. works reliance on minimalist simplicity is
2006-2011: 21st Century Music for Next, Ailem Carvajals (b. 1972) En a welcome respite from the complexity of
Piccolo Clarinet, presents contemporary (2009) for E-flat clarinet and electronic the first three works. Of special note: the
compositions for E-flat clarinet in a variety tape combines Bandieris E-flat clarinet pitch performed at 3:10 for 15 seconds
a written sixth-ledger-line altissimo D
makes, perhaps, its world premiere in
E-flat clarinet literature. Other moments
in this extreme register appear throughout
the work and Bandieris performance
seems effortless.
In Tres Palabras (2009), Massimo
Botter (b. 1965) joins the timbres of the
E-flat clarinet and a flamenco percussion
Play Selected instrument, the cajn, which is struck
by the clarinetists foot! Botter divides
Buffet Clarinets his composition into three distinct parts.
Taplin-Weir Barrels & Bells The first part introduces a sustained and
static pitch which alternates with moving
1434A Danforth Ave. pitches to represent panting speech.
Toronto, Ontario, Canada M4J 1N4 SELECTION The arrival of the second part is marked
(647) 351-8181 info@taplinweir.com STUDIO by the introduction of the cajn. Its
An extensive onhand meditative nature contrasts with the outer
selection of Buffet Clarinets
parts. The work has an epilogue featuring
REPAIRS Artist level diminution, which comes to a frenzied
repairs, custom work conclusion. Bandieri executes this work
and voicing of all
professional clarinets
with the utmost conviction and ease. The
punctuation from the cajn provides an
LIGATURES Gold plated Bonade effective addition to the principal texture
and finely crafted Ishimori ligatures of unaccompanied clarinet.
GAUGE The unique Taplin-Weir Luigi Abbate (b. 1958) constructed his
clarinet bore gauge Homage to W.O.L.S. (2011) for clarinet
and electronics in collaboration with
John Weir and Patti Goodwin Hassle Free Shipping to and from the US!
Marco Biscarini and Guido Ponzini. The
www.taplinweir.com electronics created with Biscarini and
Ponzini exclusively use samples provided

by Bandieri. The opening palette of conducted by Jonathan Webb. Bandieris Bandieris beautiful sound and musical
sonorities often seems entirely abstract resonant sonority, phrasing and style are approach to phrasing still make this track
from clarinet tone, which creates a beautiful throughout. The collaboration worthwhile listening. Clarinetists interested
fascinating variation of texture. It is likely with Alessandra Gentile and Quartetto in lesser-known romantic recital literature
that Biscarini and Ponzini omitted the di Roma is stunning in regard to unity will welcome the addition of this Busoni
natural beginning and end of samples to of phrasing, intonation, balance and two-disc set to the clarinet discography.
create this effect. Later, the work becomes Bandieris commitment to the
ensemble. However, the recording of
far more active and the characteristic expansion and visibility of the E-flat
Busonis Concertino, Op. 48 falls short clarinet in solo and chamber music is
sound of clarinet articulation abounds. of the superlative standard demonstrated evident in these recordings of 19th and
To close this disc, Bandieri is joined by throughout the remainder of the set. 21st century literature. I will certainly seek
Gianluca Cascioli to perform Casciolis Intonation flaws from the Camerata opportunities to hear Davide Bandieri
Fantasia (2011) for E-flat clarinet and Strumentale Citt di Prato sometimes in live performance as the result of these
piano. Cascioli constructs Fantasia around wonderful recorded contributions! v
detract from the overall effect, but
a theme based on a hexachord, which is
introduced with a clarinet cadenza followed
by a melody-carillon for solo piano.
The remainder of the work is a series of
expansion and variation on this material,
which the composer cites as a significant
aspect of his compositional technique.
Casciolis collaboration with Bandieri, who
is the dedicatee of this work, is artistically
convincing in all aspects of performance.
Wenzel Fuchs
first solo clarinettist
of the Berlin Philharmonic
Ferruccio & Ferdinando Busoni: has been appointed professor of
Complete Music for Clarinet, a two- clarinet at the Mozarteum University
disc set from Brilliant Classics 94978,
is the first complete reference recording
in Salzburg.
of clarinet works from the Busoni son
and father (Ferruccio and Ferdinando,
respectively). The complete content is
listed in the September 2015 Audio
The entrance exam for the
Notes in the Recent Arrivals section. academic year 2016/17 will be
Particularly significant is the premiere held on 22 June 2016.
recording of the recently published edition
by A. Manuel de Col of Ferruccio Busonis
Sonata in D Major, K. 138, of which only
Closing date for registration:
three movements are extant in manuscript. 30 April 2016
The liner notes by Michele Napolitano are
well-written and informative. Registration and further details:
Bandieri is joined by pianist Alessandra
Gentile, the Quartetto di Roma and
www.uni-mozarteum.at
Camerata Strumentale Citt di Prato

Candidates ICA Officer Election
T
he ICA election will be held online from March 15 to May 1, 2016. The election will be administered by Lynn Fryer, ICA
executive director. ICA members without an email address in the ICA database will be mailed a paper ballot. Please refer to
www.clarinet.org and follow the link on the home page to vote online. Ballots submitted by regular mail must arrive in the
office of Lynn Fryer by May 1, 2016, to be counted. Please review the candidate statements and biographies for the offices of
president-elect, secretary and treasurer. All ICA members in good standing are encouraged to participate in the election by casting a vote
for the candidate of their choice in each of the open positions.
PRESIDENT-ELECT every one of you through the online website and social media,
journal content, and conference activities are critical components
DIANE BARGER of my vision for our healthy and prosperous future. I would
Diane Barger is Hixson-Lied greatly appreciate your support.
professor of clarinet at the
University of Nebraska PRESIDENT-ELECT
Lincoln (UNL) where she
received the 2013 Annis MITCHELL ESTRIN
Chaikin Sorensen Award Mitchell Estrin is professor of
for Excellence in Teaching clarinet at the University of
Florida and artistic director
in the Humanities and the
of the Vandoren Clarinet
2001 College Distinguished
Ensemble Festival. He was
Teaching Award. She is an
education and creative
internationally-acclaimed
development manager for
Diane Barger soloist and chamber musician,
Buffet Crampon for eight
master class clinician and
years and founder of the
adjudicator, member of
Buffet Crampon USA
UNLs Moran Quintet, principal clarinet of Lincolns Symphony
Summer Clarinet Academy.
Orchestra, and artist/clinician for Buffet Crampon and DAddario Mitchell Estrin He performed for 25
Woodwinds. Barger is featured on her solo compact disc Bling years with the New York
Bling and as editor of 13 editions of Bellini operatic fantasies on the Philharmonic in over 2,000
Potenza Music label; she can also be heard with the Moran Quintet concerts as principal, second, and E-flat clarinetist, as well as in
on the Crystal Records label. Actively involved in the International chamber music performances with the Chamber Music Society of
Clarinet Association for 30 years, Barger is currently the Nebraska Lincoln Center, Amadeus Ensemble, and New Arts Trio, and at
state chair and previously served as artistic director for the 2012 the Newport Music Festival. Estrin has an extensive discography
ClarinetFest, ICA treasurer (2004-2010), and coordinator of the of solo and chamber music and recorded over 100 Hollywood
High School Solo Competition (2001-2005). motion-picture soundtracks. He served as director of ICA clarinet
choirs seven times, and directed clarinet choirs for the Oklahoma
STATEMENT
Clarinet Symposium, United States Navy and Texas Clarinet
In my third decade of membership in the International Clarinet
Colloquium. His University of Florida Clarinet Ensemble has
Association, I am honored to be nominated as a candidate for
performed throughout the United States and Europe, including
your president-elect. I enjoyed several years of service in ICA three recitals at ClarinetFest. The ensemble has produced three
leadership roles that fostered me with a unique and valuable Grammy Entry List appearance recordings for Mark Masters.
insight into our global alliance. My organizational skills and Mitchell Estrin studied with Stanley Drucker at The Juilliard
creative vision put to the test as artistic director of the 2012 School and is a Buffet Crampon Clarinet Artist and Vandoren
ClarinetFest along with my enthusiasm and unwavering passion Performing Artist.
for our cause establish a firm foundation from which I would
serve. I am eager to work alongside you, our board of directors, STATEMENT
and our stalwart industry sponsors to ensure our continued I am honored to receive the nomination for ICA president-elect.
growth by pursuing groundbreaking initiatives. Expanding our My 40 years of professional experience as a performer, educator
worldwide membership and discovering innovative ways to engage and administrator have given me a strong and diverse background

in the music industry. As a member of the ICA since 1975 (then SECRETARY
International Clarinet Society), my activities with this great
organization include performances, presentations, adjudication, MAUREEN HURD HAUSE
committee service (as member and chair), directing clarinet choirs Maureen Hurd Hause is
and contributing articles for The Clarinet. My positive long-term coordinator of woodwinds
relationships with members of every constituency of the ICA will and associate professor of
allow me to understand the broad range of perspectives needed clarinet at the Mason Gross
for continuing the effective leadership of the organization. I am School of the Arts, Rutgers
not afraid of challenges and will consider all sides of an issue when University. She has appeared
working to identify and implement solutions for a particular in concerts and master classes
situation. I am an experienced and flexible administrator with an in New York City and Europe,
established record of fiscal management and responsibility. My sole Asia and North America. She
interest would be the continuing global success of the ICA. I would has performed at New Yorks
welcome the opportunity to serve the ICA membership and thank Carnegie Hall, Alice Tully
Maureen Hurd Hause
you for considering my candidacy. Hall, Jazz at Lincoln Center,
and Merkin Hall, with the
SECRETARY American Symphony Orchestra, New York City Opera Orchestra,
Metropolitan Opera Orchestra, and Chamber Music Society of
DENISE GAINEY
Lincoln Center, and in the current production of The King and I
Denise Gainey is associate
at Lincoln Center. Hause performed at ClarinetFest conferences
professor of clarinet and
in Italy, Japan, Canada, and the United States and at the Norfolk,
instrumental music education,
Skaneateles, and Lancaster Festivals. She has recorded for Naxos,
and coordinator of graduate
MSR Classics and Marquis Classics. She holds degrees from Iowa
studies in music at the
State University and the Yale School of Music, where she worked
University of Alabama at
with the Benny Goodman Papers of the Irving S. Gilmore Music
Birmingham. She is a Backun
Library and received recognition for this research and related
Artist/Clinician, a DAddario
Woodwinds Artist, and serves performances.
as the secretary of the board of STATEMENT
directors for the International I am honored to be nominated for the position of secretary of the
Denise Gainey Clarinet Association. Gainey ICA. I have previously served the ICA as New Jersey state chair
is an active clinician and for several years and as a judge for the Young Artist Competition
performer throughout at the 2011 ClarinetFest. I have enjoyed performing at several
the United States and abroad. She has compiled and edited a
ClarinetFest conferences, and I was a prizewinner in the 2001
collection of clarinet solos, Solos for Clarinet, published by Carl
Research Presentation Competition. I have been a member of
Fischer in 2001, and is currently writing a book on master teacher
the ICA for about 25 years and have found this organization to
Kalmen Opperman. She received a Bachelor of Music Education
be a vital and innovative connector and facilitator for clarinetists
degree from Florida State University, a Master of Music degree
around the world. The ICA promotes and encourages deeper
in clarinet performance from the University of North Texas and
understanding of our instrument(s) and our literature, and I
a doctorate in clarinet from the University of Kentucky. Gaineys
would be glad to work with this outstanding group to help
major teachers include Kalmen Opperman, James Gillespie, Frank
further performance and research. I believe my leadership and
Kowalsky and Fred Ormand.
administrative experience as coordinator of woodwinds at the
STATEMENT Mason Gross School of the Arts will serve me well on the ICA
I am honored to be considered for re-election to secretary of the board. I enjoy working with people and helping bring ideas to
ICA. My strong organizational skills, ability to work with and fruition. I thank you for your consideration.
motivate people in a positive, proactive manner, and an eagerness
to serve the ICA will be of great benefit to our organization. I
am currently ICA secretary and served as state chair coordinator,
Alabama state chair, and as a member of the artistic team for
ClarinetFest 2012. During 23 years of university teaching, I have
held leadership positions on numerous committees. I hosted one
of three regional festivals sponsored by the ICA this past February,
and have also organized and hosted a successful clarinet symposium
for many years that continues to grow in attendance. As secretary,
I have enjoyed working with my colleagues on the board as our
organization makes several major positive changes to help take the
ICA in new and exciting directions.

TREASURER STATEMENT
As current ICA treasurer, I feel doubly honored to have been elected
TOD KERSTETTER twice by our membership to this important position. During my
Tod Kerstetter serves as
term, we have been confronted by several factors that have severely
professor of clarinet and as
challenged our financial status. The ICA board has addressed these
a member of the resident
Konza Wind Quintet at issues by making significant changes to our administration, in how
Kansas State University. Tod The Clarinet is published, and in reducing board meeting expenses
has been a frequent performer through teleconferencing. We now receive financial management
at ICA ClarinetFest, from the C.P.A. firm of Rick Westbrook a company with years of
including performances experience in working with nonprofit organizations. With Ricks
at recent conventions in help, along with my experience in analyzing our budgetary trends,
2011, 2012, 2013, 2014 we have developed new budgetary and financial policies for the ICA
and 2015. A graduate of that should return us to a very strong financial position by the end
Tod Kerstetter Furman University, Indiana of our financial year in August. As treasurer, I will continue using
University and the University my experience and dedication to do everything possible to keep the
of Georgia, Tod has performed ICA financially viable for years to come. v
with the clarinet sections of orchestras in Charleston, Evansville,
Kansas City, Nashville and Savannah, as well as on two tours
with the American Wind Symphony. He enjoys traveling, and
has performed internationally in Australia, Austria, Finland,
Germany, Hungary, Italy, Mexico, New Zealand, the Netherlands,
Norway, Russia, Slovenia, Spain and Sweden. Tod has enjoyed
being involved in recent commissioning projects for new music
for clarinet by such composers as David Maslanka (Desert Roads,
Eternal Garden), Mauricio Murcia (Colombian Suite, Trio Suite
Colombiana), Kevin Walczyk (Concerto Scion) and Craig Weston
(Still on the Antipodes, Stehekin Sonata).
CLARINET
ACADEMY JUNE 12-16
2016
Program Director: Professor Caroline Hartig
The Ohio State Clarinet Academy is a five-day resident experience where
high school musicians focus on enhancing musical and performance skills.
Participants engage with Professor Caroline Hartig and Ohio State students in
private lessons, master classes, chamber ensemble experiences and more!
Eligibility: For students who are entering grades 9-12 in the 2016-2017 school
year, as well as 2016 high school graduates.
Program Fee: $450, includes room and board
Deadline to Register: May 20, 2016
Registration and details at music.osu.edu

by Spencer Prewitt, Jesse Krebs, Kristy Nichols and Eric Salazar
H
ave you ever
wondered
where to
find out things like:
How do you make or adjust your reeds?
What do clarinetists do in their free time?
What exercises can help you tongue faster?
How can you keep your clarinet from cracking in
the winter?
What can you do with all your old and worn-out
reeds?
What are some helpful tips for auditioning
successfully?
Where can you find ideas for your next contest
solo or recital program?
Are scales really that important?
Who invented the clarinet and how did auxiliary
clarinets develop?
BuzzReed will be an exciting new space for

sharing information about the clarinets pedagogy,
equipment, culture, literature and history in a
format designed with younger clarinetists and non-
professionals in mind. Through regular blog entries
and a new column in The Clarinet, this initiative
will foster lively discussions about all things clarinet
and provide information that will be both fun and
educational. It will feed your obsession for the
clarinet and keep you coming back for more! Look
for updates in the ICA e-newsletter and at www.
clarinet.org. v

Message
from the
Navy Band in Washington, D.C., where
she served as a clarinetist and in several
important organizational posts (see her bio
and photo on p. 2).
ClarinetFest 2016 is fast approaching
A
and promises to be a wonderful gathering
of clarinetists from all over the world.
We are grateful to Bob Walzel, Stephanie
Zelnick and Lynn Fryer for their
leadership, as well as to the countless
volunteers behind the scenes working
together to make a great event.
T
Dear ICA Members, your students, colleagues and clarinet Please encourage your students
enthusiasts of all ages to join the ICA. We and colleagues to participate in the
he ICA Board is busily
are offering new incentives, including access ICA ClarinetFest 2016 competitions.
preparing for many upcoming
to The Clarinet online and an updated These competitions provide a valuable
events. We are excited to
website. Also, the ICA/James Gillespie opportunity for students and young
share all that is happening
Online Resource Library continues to be a professionals to compete on an
and to express our appreciation for your
favorite go to for clarinetists of all levels. international level, meet people from
continued support of our organization. We
The ICA is pleased to welcome our around the world, and develop lifelong
are planning several membership drives and
new Executive Assistant Kathleen D. friends and professional colleagues.
initiatives, and growing our membership
As you will note, we have secured
A
remains our greatest goal. Please encourage Chau. She is a retired member of the U.S.
wonderful sites for future ClarinetFest
ARIA
conferences, with ClarinetFest 2017
scheduled for Orlando, Florida and hosted
2016
by Keith Koons and his team. At the time
of the tragic passing of beloved Guido Six
last October, plans had been underway
and funding secured by Guido to host
r
International Summer Academy ClarinetFest 2018 in Ostend, Belgium.
Mihai Tetel - Director
We have heard from our membership that
2016 Boot Camp Session at some of the finest and most memorable
ClarinetFests have been held outside
Mount Holyoke College, MA, USA of the United States. While it is fiscally
i
Session: July 1-12 advantageous for our organization to host
ClarinetFests within the United States, the
FAculTy: ICA is committed to working with our
Deborah chodacki - Louisiana State University international members. We are pleased
that Eddy Vanoosthuyse, along with the
Ken Grant - Eastman School Six family, will continue to plan and carry
Jonathan Gunn - Principal, Cincinnati Symphony & faculty through with hosting ClarinetFest 2018 in
Cincinnati College-Conservatory Ostend. We are now searching for exciting
and inviting U.S. locations for ClarinetFest
Ron Samuels - Pittsburgh Symphony & Duquesne University 2019 and 2020. Please see page 15 in this
issue for proposal details and guidelines.
Guy yehuda - Michigan State University As always, we value your membership
and enjoy hearing your comments and
Intensive session on technique, intelligent practicing, musicianship, auditions, and career.
ideas as we all share a great passion for
For more information please contact Prof. Mihai Tetel at mtetel@yahoo.com or visit our the clarinet and our clarinet community!
website at www.ariaacademy.com
We hope to see you in Lawrence for
Telephone 765.212.0327 what will surely be an inspirational
ClarinetFest 2016. v

CLARINET REEDS
WHAT COLOR IS YOUR SOUND?
#myvandorencolor
2015 Vandoren SAS. www.vandoren.com Imported to the U.S. by DANSR,

818 W. Evergreen, Chicago, IL 60642, 888.707.4455, www.dansr.com
Demand
a Higher
Standard
Introducing the NEW CSVR
The Yamaha Custom CSVR clarinets are the result of
years of development dedicated to a clearly focused
concept: crafting a Custom clarinet that has a beautiful
sound, consistent quality, and an affordable price. Both
student and professional clarinetists require a rich sound
and comfortable playability. These qualities were
combined with the high level of consistency that only
Yamaha can provide, allowing clarinetists to demand a
higher standard than ever before.
Redesigned keys offer comfortable, ergonomic hand

placement. In addition, the new keys have thicker
silver-plating for a dark and resonant sound quality.
Durable leather pads ensure a precise seal between

pad and tone hole for ease of
response throughout the entire
range of the clarinet.
A new Custom barrel design provides the CSVR with

a well-balanced response and rich, warm tonal colors
that will elevate the progressing clarinetists playing.
Learn more now at www.4wrd.it/csvrcla4
2016 Yamaha Corporation of America. All rights reserved.

TheClarinet Mar16

Загружено:

Сведения о документе

Оригинальное название

Авторское право

Доступные форматы

Поделиться этим документом

Поделиться или встроить документ

Параметры публикации

Этот документ был вам полезен?

Это неприемлемый материал?

Авторское право:

Доступные форматы

TheClarinet Mar16

Загружено:

Авторское право:

Доступные форматы

Vol. 43 No.

Also in this issue...

AUDIO REVIEWS EDITOR

ICA Executive Assistant

Kathleen Chau is a retired military clarinetist, having Vol. 43 No. 2

served in the U.S. Navys premier musical ensemble, the

and supply operations. Following her military retirement,

Copyright 2016, International Clarinet Association.

2|THE CLARINET MARCH 2016

MARCH 2016 THE CLARINET|3

24 Guido Six (19552015) 56 Dont Give Me Daphnis: An

4|THE CLARINET MARCH 2016

Experience our wide variety of

Quality instruments, accessories & repairs

BASS Excellence in Service and

The 2015 Montana/Idaho Clarinet

6|THE CLARINET MARCH 2016

2015 CALIFORNIA CLARINET CLINIC

MARCH 2016 THE CLARINET|7

8|THE CLARINET MARCH 2016

MARCH 2016 THE CLARINET|9

Handmade Mozart, Weber, Spohr, Crusell, Stamitz, Krommer, Tartini

for more information, please visit our web site

10|THE CLARINET MARCH 2016

ABOUT THE WRITER

Lift Clarinet Academy

At the Lift Clarinet Academy we want you to arrive with

MARCH 2016 THE CLARINET|11

Photo Credit: Yoann Lhostellier

12|THE CLARINET MARCH 2016

MARCH 2016 THE CLARINET|13

14|THE CLARINET MARCH 2016

Site Search for

16|THE CLARINET MARCH 2016

open-ended, but Example 2B will show

MARCH 2016 THE CLARINET|17

18|THE CLARINET MARCH 2016

Clarinet Performance Workshop

Refresh your playing with new ways of thinking

Howard Klug, Professor of Clarinet, Tuition: $600

MARCH 2016 THE CLARINET|19

by Deborah Check Reeves

Historically Speaking is a feature of The of musical instrument manufacturing

rjmusicgroup.com Photo 5: NMM 5867 Kohlert

...catering to the discriminating Photo 4: NMM

professional and amateur musician.

20|THE CLARINET MARCH 2016

Crystal Records, 50th anniversary Clarinet Compact Discs

MARCH 2016 THE CLARINET|21

22|THE CLARINET MARCH 2016

24|THE CLARINET MARCH 2016

MARCH 2016 THE CLARINET|25

Part IIb would not be surprised that the promise

26|THE CLARINET MARCH 2016

Figure 2: 1930s catalog of materials used to make clarinet and

MARCH 2016 THE CLARINET|27

Ann Arbor to have

28|THE CLARINET MARCH 2016

MARCH 2016 THE CLARINET|29

30|THE CLARINET MARCH 2016

2016 High School Solo Competition

High School Solo Competition Coordinator: John Warren jwarre35@kennesaw.edu

CONTEST RULES JUDGING