volume 25, number 4, july-august 1998 - wild apricot · volume 25, number 4 july/august 1998 about...

m.

k.

LEGENDRRV

Buffet Crampon clarinets have a long history of being the finest clarinets in the

world: beautiful Grenadilla wood, flawless key work, and an exquisite sound

that is the signature of a Buffet.

The legendary R-13 is just one of a vast family of clarinets. Our

Prestige line of clarinets, made from the very finest wood,

feature an adjustable thumb rest and auxiliary

Eb lever. The Vintage, our salute to the

original 1950ys R-13, boasts a

beautiful, resonant

sound. The

R - 1 3^

PAR!

BOOSEY &

HAWKES

better by design

1925 Enterprise Court ♦ Libertyville, IL 60048 Phone: 847.816.2500 ♦ Fax: 847.816.2514

e-mail: [email protected] ♦ Web Site: http://www.boosey.com

For ouer 100

years Buffet

Crampon has been

helping the

world's

clarinetists play

their finest. This

uncompromising

quality continues

today with the

legendary R-13

and its uast

family of eKtraor-

dinary clarinets

Green

Line clarinet is

at the forefront of inno¬

vation: impeccable intonation

and rich harmonics all within a

clarinet body that goes unchanged in any

climate.

It's no accident that clarinetists swear by

their Buffets and recommend them to

their students, children, and friends. Our

legacy of uncompromising quality doesn't

just make us legendary - it makes us

better by design.

Volume 25, Number 4 July/August 1998

About the Cover...

The clarinetists of the 1997 Bayreu- ther Festspielorchester (l-r): Wolfhard Pencz, Joachim Welz, Thomas Ulrich Schliiter, Matthias Glander, Thomas Franke and Bernd-Michael Hassel. See James Gillespie's feature article begin¬ ning on page 32.

INDEX OF ADVERTISERS Albert Alphin 33 Altieri Instrument Bags 50 Ben Armato 31 Charles Bay 39 BG - France 23, 43 Boosey & Hawkes/

Buffet Crampon Inside Front Cover Brannen Woodwinds 57 Brixton Publications 22 CASS 12 Clarinet Classics 4 Crystal Records 55 DEC Music Products 63 John DeWitt Music 69 Avrahm Galper 15 Ignatius Gennusa 23 Anthony Gigliotti, Inc 67 Houston Band Instrument Company 74 Howarth 76 International Musical Suppliers, Inc 12, 47 International Clarinet Association

Music from the I.C.A. CD 41 Jupiter Clarinets 53 Ton Kooiman 9 G. Leblanc 38, Inside Back Cover Luyben Music 16, 76 Marks Music 46 Muncy Winds 19 Musikverlag G. Aegler 50 Theodor Nagel 46 Norcat Music Press 39 Olathe Band Instrument 69 Ongaku Records, Inc 5 Patricola Musical Instruments 51 Pomarico 59 Bernard Portnoy 30 James Pyne 13 Quodlibet, Inc 57 Raybum Music Company 43 Reeds Australia 61 Rico International 35, 37, 39, 41 Luis Rossi 55 Rousseau Music Products, Inc 71 Rovner Products 40 Sayre Woodwinds 41 The Selmer Company Back Cover J.L. Smith & Co 51 Southern Music Company 51 University of North Dakota 5 Vandoren 75 Wichita Band Instrument Co 69 Wind Instrument Center 62 Wohlers & Co 73 The Woodwind 68 The Woodwind Corner 15

Features

UTAH SYMPHONY CLARINETIST CHRISTIE LUNDQUIST DIES 22

MEDICAL PROBLEMS OF CLARINETISTS: RESULTS FROM THE U.N.T. MUSICIAN HEALTH SURVEY by Michael Thrasher and Kris S. Cheskx 24

OPTIMUM PRODUCTION AND CONTROL OF CLARINET TONE by Mark Sellen 28

THE CLARINETISTS OF THE 1997 & 1998 BAYREUTHER FESTSPIELORCHESTER by James Gillespie 32

THE FIVE BASS CLARINET SUITES OF J.S. BACH by Edward Pal anker 42

COMMITTED TO NEW ORLEANS JAZZ AND METAL CLARINETS — EBERHARD KRAUT HAS SET HIS HEART ON THE NEW ORLEANS CLARINETS by Ralf Kriiger 44

ANTON RUBINSTEIN AND THE CLARINET by Justin E.A. Busch 48

AN INTERVIEW WITH ERIC HOEPRICH by Luigi Magistrelli .52

THE BRAZILIAN'S CLARINET by Fernando Jose Silveira .56

BERNHARD HENRIK CRUSELL'S AUTOBIOGRAPHY Edited by Brent Coppenbarger .58

Departments

LETTERS 4

FROM THE EDITOR'S DESK by James Gillespie 6

MASTER CLASS by Guy Deplus 8

TEACHING BEGINNERS by Michael Webster 10

CLARINOTES 14

CLARANALYSIS by Lee Gibson 16

AUDIO NOTES by William Nichols 20

THE DOWN UNDER AUSTRALIAN REPORT by Neville Thomas 60

REVIEWS 64

RECITALS AND CONCERTS 70

THE PRESIDENT'S MESSAGE by Alan E. Stanek 72

CLASSIFIED ADVERTISING 76

July/August 1998 Page 1

City of Ostend Clarinet

Composition Competition

The City of Ostend, Belgium is sponsoring a clarinet composition competition in co¬ operation with the I.C.A. The competition is open to all composers. Works are to be submitted for the following categories:

A. Clarinet Choir: high school level; 8-10 minutes in duration

B. Clarinet Quintet (strings and clarinet): professional level; 10-15 minutes in duration

C. Clarinet Quartet (any combination of four clarinets): professional level; 10-15 minutes in duration

D. Bass Clarinet Solo: professional level; 6-8 minutes in duration

E. Clarinet Trio (any combination of three clarinets): professional level; 10-15 minutes duration

A prize of $1,000 U.S. will be awarded to composers of works chosen in each cate¬ gory. The prize money is provided by Vande Lanotte, Minister of the Home Of¬ fice; Mr. Vandecasteele, Mayor of Ostend; Mrs. Willems, Assistant Mayor of Educa¬ tion of Ostend; the I.C.A.; and Mr. Breyne, Governor of the province of West Flanders.

Contestants should send a full score, and the works should not have been previous¬ ly published or performed in a profession¬ al setting. All works should be postmarked no later than March 31,1999.

Send all entries to:

G UID O SIX Conservatory of Music

Romestraat 36 B-8400 Oostende, Belgium

The winning works will be premiered at the ClarinetFest 1999 in Ostend, Belgium.

Entries will be judged by an international panel.

ClarinetFest

1999

Ostend, Belgium

July 6-11

OOSTENDE

Claribel the clarinet choir of the Ostend (Belgium) Conservatory of Music, is honored to host ClarinetFest 1999, the annual clarinet conference of the International Clarinet Association. Those who attended the festivals in Chicago (1994), Paris (1996) and Lubbock (1997) have been able to hear the outstanding quality and enthusiasm of this young ensemble.

Now, on the occasion of the 150th anniversary of the Ostend Conservatory of Music, they want to prove that they are also good organizers and are happy to welcome you to Ostend, the most beautiful city on the Belgian Coast.

Althougth no final schedule is established as yet, a tentative daily schedule looks like this:

8:30 a.m. Lectures, clinics, presentations 9:45 a.m. Young ClarinetFest featuring new talent

(including I.C.A.'s Young Artist Competition) 11:00a.m. Solo Recitals 2:00 p.m. Simultaneous Masterclasses 3:00 p.m. Solo recitals 4:15 p.m. Clarinet Choirs 5:30 p.m. Trios, quartets 8:30 p.m. Gala Evening Concerts (with band, orchestra, jazz and folk music)

Special Features of ClarinetFest 1999: • Premieres of the winning pieces of the International Composition Contest of

the City of Ostend. • Tours of historical sites, such as Bruges, Flanders Fields and Veurne. • Belgian ClarinetFest Chocolates and our own unique CLARIBELBEER

Important Recommendation Concerning Housing Facilities: Ostend has a wide range of housing facilities from low-budget family hotels to deluxe hotels like the Thermae Palace where the festival takes place. Contact Guido Six for a brochure with all the information. We recommend that reservations be made as early as March 1999. Ostend is the main tourist city on the coast and all hotels fill up very quickly.

For more Information, contact: ClarinetFest 1999, Conservatory of Music, Romestraat 36, B8400 Oostende, Belgium, phone +32 59 70 70 08

or

ClarinetFest 1999, Guido Six, Festival Host, Artanstraat 3, B8670 Oostduinkerke, Belgium, ph +32 58 52 33 94, fax +32 58 51 02 94, email: <[email protected]>

Check out our website for more information about performing artists and other events: www.clarinetfest.org

Page 2 The Clarinet

INTERNATIONAL CLARINET ASSOCIATION

President: Alan E. Stanek. Department of Music. Idaho State University. Pocatello, Idaho 83209-8099 208/236-3108 (office). 208/2364884 (fax). 208/232-1338 (home). E-mail: <[email protected]>

Past President: F. Gerard Errante, Department of Music, Norfolk State University, Norfolk, Virginia 23504 757/683-9521 (office), 757/440-1964 (fax), 757/440-1803 (home), E-mail: <[email protected]>

President-elect: Robert Spring. School of Music, Arizona State University, Tempe, Arizona 85287-0405 602/965-4306 (office), 602/965-2659 (fax). E-mail: <[email protected]>

Secretary: Maurita Murphy Mead, School of Music, University of Iowa, Iowa City. Iowa 52242 319/335-1658 (office), 319/335-2637 (fax). E-mail: <[email protected]>

Treasurer: Julie DeRoche. School of Music. De Paul University, 804 W. Belden Ave., Chicago. Illinois 60614-3296 773/325-4365 (office), 773/325-7263 (fax). E-mail: <[email protected]>

Membership Coordinator: Elena Lence Talley. P.O. Box 7683. Shawnee Mission. Kansas 66207-0683 913/268-3064 (phone/fax), E-mail: <[email protected]>

Editor/Publisher: James Gillespie. College of Music. University of North Texas, Denton. Texas 76203-1367 940/5654096 (office), 940/565-2002 (fax), E-mail: <[email protected]>

Advertising Manager: Gary Whitman. Department of Music, Texas Christian University, P.O. Box 297500 Fort Worth. Texas 76129,817/921-7602. ext. 6622 (office), 817/921-7344 (fax), E-mail: <[email protected]>

Editorial Associates: Lee Gibson, 1226 Kendolph. Denton. Texas 76205 Himie Voxman, 821 N. Linn. Iowa City. Iowa 52245

Contributing Editor: Joan Porter, 400 West 43rd, Apt. 41L. New York. New York 10036 Editorial Staff: Joseph Messenger (Editor of Reviews). Department of Music. Iowa State University, Ames.

Iowa 50011; William Nichols (Audio Review Editor). School of Music. Northeast Louisiana University. Monroe. Louisiana 71209-0250.318/342-1576 (office), 318/342-1369 (fax): Raffaello Orlando. Via del Corallo 4.00186. Rome. Italy; Bruce Creditor, 11 Fisher Road. Sharon. Massachusetts 02067; Tsuneya Hirai. 11-9 Oidecho, Nishinomiya, 662 Japan; Kalmen Opperman, 17 West 67th Street. #1 D/S. New York. New York 10023: Heston L. Wilson. 1155 Akron Street. San Diego, California 92106; Michael Webster. Shepherd School of Music, Rice University, P.O. Box 1892. Houston. Texas 77251-1892.713/838-0420 (home), 713/858-0078 (fax). E-mail: <[email protected]>

I.C.A. Research Center: for borrowing music and ordering catalogs: Special Collections in Performing Arts. Performing Arts Library. Hombake 3210, University of Maryland, College Park, Maryland 20742-7011; for research questions: Charles Stier, P.O. Box 1342. Olney, Maryland 20830-1342.301/774-0881 (phone/fax). E-mail: <[email protected]>

Internet Liaison: David Niethamer, University of Richmond. Department of Music. Richmond. Virginia 23173 804/288-5935 (home). E-mail: <[email protected]>

Regional Chairpersons: Northeast: Michael Galvan. School of Music. Ithaca College. Ithaca. New York 14850. E-mail: <[email protected]> Southeast: Edwin Riley, Department of Music, Columbus College. Columbus. Georgia 31993

E-mail: <[email protected]> North Central: Jo Ann Polley, Department of Music. Saint Olaf College. Northfledl. Minnesota 55057

Phone 507/646-3197, E-mail: <[email protected]> South Central: Wilbur Moreland, Department of Music, University of Southern Mississippi. Hattiesburg.

Mississippi 39406-5081. Phone 601/266-5363, E-mail: <[email protected]> Northwest: William McColl. School of Music. University of Washington, Seattle. Washington 98195

Phone 206/543-1200, E-mail: <[email protected]> Southwest: David Etheridge, School of Music, University of Oklahoma, Norman. Oklahoma 73069

Phone 405/3254372. E-mail: <[email protected]> Eastern Canada: Stan Fisher. School of Music. Acadia University. Wolfville, Nova Scotia BOP 1XO, Canada Western Canada: Gerald N. King. School of Music. University of Victoria. Box 1700. Victoria. British Columbia

V8W 2Y2, Canada. Phone 250/652-8594. E-mail: <[email protected]> Central Canada: Ronald Goddard. School of Music. Brandon University. Brandon. Manitoba R7A 6A9, Canada

E-mail: <goddard@brandon-eca> National Chairpersons: Argentina: Mariano Frogioni, Juramento 5186.1431 p. 1 "B." Buenos Aires. Argentina Armenia: Alexander Grigory Manoukian, 375070 Aigestane rue 6 bat 34. Erevan-70, Armenia Australia: Neville Thomas. 36 Bishops Ave., Randwick, Sydney, Australia 2031,02 9 665 1261 (phone),

E-mail: <[email protected]> Austria: Alfred Prinz. Dr. Walter Stoklgasse 10. A-3002 Purkersdorf, Austria Belgium: Marcel Ancion, Rue Delince, 12. B-l 160 Brussels, Belgium. (02) 660-9645 (phone); 322 675-1771 (fax) Brazil: Ricardo Dourado Freire. SHIS QI17 conj. 11 casa 02.71.645-110 Brasflia-DF. Brazil. 5561/248-1436

(phone). 5561/248-2869 (fax). E-mail: <[email protected]> Canada: Peter Spriggs, The Clarinet Center. P.O. Box 159. Pentiction. British Columbia V2A 6K3. Canada Chile: Luis Rossi, Guillermo Franke 2390. Nuiioa. Santiago 11. Chile. (562) 274-3170 (phone/fax) Costa Rica: Alvaro D. Guevara-Duarte. 300 M. Este Fabrica de Hielo. Santa Cruz-Guanacaste, Costa Rica.

Central America Czech Republic: Stepan Koutnik. Simackova 19.170 00 Prague 7, Czech Republic European Coordinator: Guido Six, Artanstraat 3.8670 Oostduinkerke. Belgium, 32-58523394 (phone)

32/58510294 (fax). E-mail: <[email protected]> Finland: Anna-Maija Joensuu. Marsinkuja 3 H 69,01480 Vantaa, Finland France: Guy Deplus. 37 Square St. Charles. Paris. France 75012 Germany: Allan Ware. Buchenbrink 4. D-49086 Osnabriick. Germany Great Britain: Georgina Dobree, 6, The Grange, Grangewood Gardens, Leeds LSI6 6EY, England

0113 2300532 (phone). Hong Kong: Andrew Simon, I4B Ying Pont Building, 69-71A Peel Street, Hong Kong

(011)852 2987 9603 (phone) Hungary: Jozsef Balogh. Becsi u. 88/90.1/31. H-1034 Budapest. Hungary. 36 1 388 6689 (phone/fax) Iceland: Kjartan 'Oskarsson. Tungata 47, IS-101. Reykjavik. Iceland Ireland: Tim Hanafm. Orchestral Studies Dept., DIT, Conservatory of Music, Chatham Row, Dublin 2. Ireland.

353 1 4023577 (fax), 353 I 4023599 (home phone). E-mail: <[email protected]> Israel: Eva Wasserman-Margolis. Weizman 6, Apt. 3, Givatayim. Israel 53236. E-mail: <[email protected]> Italy: Luigi Magistrelli, Via Buonarroti 6.20010 S. Stefano Ticino (Mi). Italy. 39/(0) 2 97 27 01 45 (phone/fax) Japan: Tsuneya Hirai. 11-9 Oidecho. Nishinomiya, 662 Japan. 0798 (72) 3749 (phone/fax)

Korea: Im Soo Lee. Hanshin 2nd Apt.. 108-302, Chamwondong Suhchoku, Seoul, Korea. (02) 533-6952 (phone), (02) 3476-6952 (fax). E-mail: <[email protected]>

Luxembourg: Marcel Lallemang. 11 Rue Michelshof. L-6251 Scheidgen, Luxembourg Mexico: Luis Humberto Ramos. Calz. Guadalupe I. Ramire No. 505401 Col. San Bemadino. Xochimilco. Mexico

D.F. 16030.6768709 (fax) Netherlands: Nancy Wierdsma-Braithwaite. Arie van de Heuvelstraat 10.3981 CV. Bunnik, Netherlands New Zealand: Andrew Uren, 26 Appleyard Crescent. Meadowbank. Auckland 5. New Zealand

64 9 521 2663 (phone and fax). Norway: Hakon Stodle. Fogd Dreyersgt. 21,9008 Tromso. Norway People's Republic of China: Tie Bai. No. 67,25th Building, East Laoshan, Shijingshan, Beijing, People's Republic

of China. 6886-0189 (phone) Peru: Ruben Valenzuela Alejo, Av. Alejandro Bertello 1092, Lima, Peru 01.564-0350 or 564-0360 (phone),

(51-1)5644123 (fax) Poland: Krzysztof Klima. ul. Switezianki 5/3.31-563 Cracow, Poland. 48 12 11 59 96 (phone/fax) Portugal: Antonio Saiote. Rua 66. N. 125.2 Dto.. 4500 Espinho. Portugal. 351-2-731 0389 (phone) Slovenia: Jurij Jenko. C. Na Svetje 56 A, 61215 Medvode, Slovenia. Phone 386 61 612 477 South Africa: Edouard L. Miasnikov. P.O. Box 249. Auckland Park. 2006, Johannesburg. South Africa.

(011) 476-6652 (phone/fax) Spain: Jose Thomas-Perez, General Romero Basart, 131 6.e Dcha.. Madrid. Spain. Phone 705 4167 Sweden: Kjell-Inge Stevensson. Erikssund. S-193 00 Sigtuna, Sweden Switzerland: Andreas Ramseier. Alter Markt 6. CH-3400 Burgdorf, Switzerland Thailand: Peter Goldberg. 105/7 Soi Suparat. Paholyotin 14. Phyathai. Bangkok 10400 Thailand

662-2714256 or 279-0213 (phone) Uruguay: Horst G. Prentki. Jose Marti 32921701. Montevideo. Uruguay 11300 Venezuela: Victor Salamanques, Calle Bonpland. Res. Los Arboles. Torrec Apt. C-14D. Colinas de Bello Yonte

Caracas 1050. Venezuela

HONORARY MEMBERS Betty Brockett, Idaho Falls, Idaho

Lee Gibson, Denton, Texas Ramon Kireilis, Denver, Colorado Harry Rubin, York, Pennsylvania

James Sauers (1921-1988) Ralph Strouf, Parrish, Florida

Pamela Weston, Hythe, Kent, United Kingdom

Commercial Advertising / General Advertising Rates

Rates & Specifications The Clarinet is published four times a year and contains at least 48 pages printed offset on 70 lb. gloss stock. Trim size is approximately 8 1/4" x 11". All pages are printed with black ink, with 4,000 to 4,500 copies printed per issue.

Deadlines for Articles, Announcements, Recital Programs, Advertisements, etc.

Sept. 1 for Dec. issue • Mar. 1 for June issue • Dec. 1 for Mar. issue • June 1 for Sept. issue —Advertising Rates —

Size Picas Inches Single Issue (BAV) Color** Outside Cover* 46x60 7-5/8x10 $910 Inside Cover* 46x60 7-5/8x10 $510 $775 Full Page 46x60 7-5/8x10 $380 $625 2/3 Vertical 30x60 5x10 $290 $500 1/2 Horizontal 46x29 7-5/8x4-3/4 $220 $425 1/3 Vertical 14x60 2-3/8x10 $180 $300 1/3 Square 30x29 5x4-3/4 $180 $300 1/6 Horizontal 30x14 5x2-3/8 $110 $205 1/6 Vertical 14x29 2-3/8x4-3/4 $110 $205 *First request honored.

**These prices are based on the advertiser providing 4-color separations (book negatives where possible). If sepa¬ rations are not available. 4-color transparencies, slides or clean photos will be accepted. If the I.C.A. must acquire the separations, each will be priced separately.

NOTE: Line screen values for the magazine are 150 for black & white ads and 175 for color. If the poor quality of any ad submitted requires that it be re-typeset, additional charges may be incurred.

The International Clarinet Association

Membership Fees $25 High School and College/Conservatory Student (U.S. and Canada only) $35 United States $40 Canada and Mexico $50 Other countries (includes air mail delivery)

Payment may be made by check, money order or VISA. Make checks payable to the International Clarinet Association in U.S. dollars. Please use International Money Order or check drawn on U.S. bank. Send payment to: The International Clarinet Association, Elena Lence Talley,

P.O. Box 7683, Shawnee Mission, Kansas 66207-0683. © Copyright 1998, INTERNATIONAL CLARINET ASSOCIATION

ISSN 0361-5553 All Rights Reserved Published quarterly by the INTERNATIONAL CLARINET ASSOCIATION

Designed and printed by BUCHANAN VISUAL COMMUNICATIONS - Dallas. Texas U.S.A.


CLARINET

C L A SS I C S

Innovative

Recordings

for the

Clarinet

MARCEL MULE 'Le Patron' of the Saxophone

PLAYS ON... Works by Saint-Saens, Rimsky- Korsakov. Pierne. Dillon, Raff. Haydn. Marceau and others.

H Y M N O S

HYMNOS Works by: Maxwell Davies,

Goehr and Birtwistle Roger Heaton, clarinets; Stephen Pruslin, piano; Kreutzer String Quartet.

THE WORLD OF CLARINET CLASSICS

Complete tracks taken from each of the first 19 releases of Clarinet

Classics. CC0020 BUDGET PRICE

You can also visit our web site at: http://wwvu.ci|j.co.ul(/impulse/clarinet_classics/

NOW WITH SOUND BITES! USA orders: QUALITON IMPORTS LTD

20-02 40th Avenue, Long Island City, NY 11101. Tel: 718 937 8515. Fax: 718 729 3239.

For full Clarinet Classics catalogue: Richard Ralph, 77 St Albans Avenue, East Ham, London E6 4HH, England.

Tel/Fax: +44 (0)181-472 2057. E-mail: [email protected]

Web site: http://www.cdj.co.uk/impulse/clarinet_classics

LETTERS

(Letters intended for publication in The Clarinet should be addressed to James Gil- lespie, Editor, "Letters," The Clarinet, Col¬ lege of Music, University of North Texas, Denton, Texas 76203-1367. Letters may be edited for purposes of clarity and space.)

I would like to make some comments on the letters by Vance Jennings and Carl Todd in the last issue of The Clar¬

inet (February /March 1998). First, I am delighted that someone is as

big a fan of Irving Fazola as I am. How he was not listed among the great New Orleans clarinetists, I cannot understand. He was Pete Fountain's hero, and I understand that Pete's first professional job in New Orleans was subbing for Faz the night he died. Faz has been described as "everybody's favorite clarinetist but nobody's favorite person." He was not only as gross as Jennings quotes but a mean, very mean drunk. I cannot imagine him getting along with straight arrow Hor¬ ace Heidt! Glenn Miller was not the only big band leader who admired him. He was Jimmy Dorsey's favorite clarinetist, and lots of sidemen had the same admiration. His tone was big and fat — gorgeous would be a good description. He played an Albert- system horn, and he is reputed to have scoured pawn shops in every city he was playing looking for horns he could get parts from. Jerry Pierce once commented that if anyone played Faz's horn today, the room would reek of garlic for a month! Jerry and I would argue about the tones from an Al¬ bert versus a Boehm clarinet, Jerry holding that there was no inherent difference. I argued for the Albert horn having a fat¬ ter, mellower tone, and I used Faz as the per¬ fect example. Jerry could not cite a Boehm player that matched Faz!

He had the happy facility of making everything look like he was coasting, but he could move quite rapidly not seeming to be doing so. It was his relaxed style, coupled with that tone, that made him unique.

A few years ago, Gary Foster came to town to play with a local community col¬ lege jazz band. One of the pieces he sent to be played he called Gone But Not Forgot¬ ten and said it was written in memory of Faz. After the rehearsal, I took him home to hear Faz play it with the Bob Crosby band. Gary did not know that it was writ¬ ten by Bob Haggart while Faz was in the Crosby band and that its proper name was

"My Inspiration." Gary played it in B^, while the original was in C. Pete Fountain has also recorded it.

Faz made only one album that I am aware of in the late '40s for Mercury, and it has not been re-released to my knowl¬ edge. Mine disappeared long ago, a victim of various moving companies. Does any¬ one have it so a copy tape could be made?

Mr. Jennings mentions that Faz once played for the Candy Candido Orchestra, and I wonder if this would be the same Candy Candido I knew as a bass player with the Ted Fio Rito dance orchestra in the '30s, who did a novelty number called The Three Trees? I would love to have a recording of that if any was ever made. The Fio Rito band had Betty Grable as one of the girl trio for awhile, and Ray Hendricks, Laraine Day's husband before the baseball manager Leo Durocher, was a violinist/vocalist.

As Mr. Todd undoubtedly knows, syn¬ thetic reeds have been around for at least 55 or more years. When the unpleasantness of the '40s made cane unavailable, a plastic reed was an alternative. I do not recall the name, but it was solid plastic and reddish brown or brownish red. It could be suitable in the right hands. For instance, Artie Shaw used one to make Stardust, and Rosario Mazzeo in his book tells us of using one for years in the Boston Symphony without any colleagues knowing the difference. I have been told that the maker of the Fibercell reed knows what must be done to improve the reed's performance in the extreme altissimo, but that the money to do it is un¬ attainable for him.

In fashioning synthetic reeds, Mr. Todd cites the Bellison adage, "Remove only dust." To do this, I would recommend lap¬ ping paper which can be had in very fine grades, far better than emery paper. Al¬ though I have not used it, I understand that 3M has marketed a 9,000 grit paper which should be more than fine enough for any use on a reed. The lapping paper I use is either medium (yellow) grade, 12-micron aluminum oxide or fine (pink), 3 micron aluminum oxide. These were developed for lapping magnetic heads and come in sheets 5"x9".

Frank Riordan 9926 Holliston Court Saint Louis, MO 63124

[An article on Irving Fazola is planned for a future issue. Ed]

Page 4 The Clarinet

r

The University of North Dakota

Department of Music

presents the

1998 NORTHERN PLAINS

CLARINET SYMPOSIUM

and

FIRST ANNUAL

YOUNG ARTIST COMPETITION

for High School Clarinetists

Friday and Saturday

September 18 & 19, 1998

Hughes Fine Arts Center University of North Dakota Campus

Grand Forks, North Dakota

For information, contact Elizabeth Rheude, Symposium Coordinator at (701) 777-2823

GUEST ARTISTS

Monty Cole Minot State University Loran Eckroth University of Mary Beverly Gibson Augustana College Ron Goddard Brandon University Christopher Hill South Dakota Symphony Alan LaFave Northern State University Dennis Layne St. Cloud State University Deborah Reeves University of South Dakota Elizabeth Rheude University of North Dakota

INS) 'THuacc riTLT.T/L]

Jonathan Cohler

plays the most important

and least recorded 20th Century

works for solo clarinet

"The poetry that lesser artists miss." -Qramophone

"Superhuman." -Fanfare Magazine

Order Your CDs Today! Call 1-800-647-9509

FAX 781-863-6105 or mail a check or money order for $15.99/CD plus $3.00 shipping (5% sales tax in MA only)

Make checks payable to:

Ottya&it ^econxU, Inc. 6 Royal Circle • Lexington, MA 02173-1325

http://www.ongaku-records.com/ Be sure to include your name, address and phone number with order.

Distributed in North America by: Allegro Corporation

14134 N.E. Airport Way • Portland, OR 97230-3443 1-800-288-2007 • FAX 503-257-9061

http://www.allegro-music.com/~allegro

Also available at fine record stores.

Brahms Sonata No. 1 Weber Grand Duo Concertant BArmann Adagio Sargon Deep Ellum Nights

Brahms Sonata No. 2

POULENC Sonata

Schumann Fantasy Pieces

Milhaud Sonatine

Stravinsky Three Pieces

Jonathan Cohler

TIu

Clarinet

S^ilone

July /August 1998

New ReleaseI

DONALD MARTINO A Set for Clarinet

OLIVIER Messiaen Abime des oiseaux

WlLLSON OsBORNE Rhapsody

NlCOLO PagANINI Moto Perpetuo

VINCENT Persichetti Parable for Solo Clarinet

WILLIAM O. Smith 5 Pieces for Clarinet Alone

Erland von Koch Mono/og 3

Egon Wellesz Suite for Clarinet Solo

Page 5

Tlx-' ciARinet

| Tlx:1 dAuinen

25 years of Issue No. 1 covers

ime*

celewiateA

WO iMue&f

<7torn the, 8dit&i d !De4&

by James Gillespie

I have made very limited use of this space in our journal over the years, opting for the more val¬ uable use that could be made of it by other

contributors; however, on the occasion of our 25th anniversary year and our 100th issue (and your edi¬ tor for 80 of them), I hope you will allow me a few words of reflection.

When I took over the editor's position from Lee Gibson in 1978 with Vol. 6, No. 1 as my first is¬ sue (with a cover story devoted to Rufus Arey, my teacher's teacher), my only experience with any journal was as the review editor during the first five years of The Clarinet. What followed, however, was strictly on-the-job training, since very little in graduate school pursuing degrees in clarinet performance pre¬ pares one to put a journal together four times a year.

Since omniscience does not go with the appoint¬ ment as editor, I set about establishing an Editorial Board, consisting of Himie Voxman and Lee Gibson (who are still serving ably today!), that reviews all of the formal articles that are submitted. Frequently articles are also sent to other specialists to review.

Another priority was to invite regular columnists to contribute in order to provide the publication with continuity and articles written by specialists in various areas. Thankfully, individuals such as Jerry Pierce, Rosario Mazzeo, Robert Schmidt, Howard Klug, Lee Gibson, Pamela Weston and Arthur Christmann, to name only a few, were willing and very able.

Another goal was to make the content truly in¬ ternational to reflect the name of our organization. Contributors from outside the U.S. were called upon to send in reports and articles on their respective coun¬ tries. Neville Thomas (Australia), Raffaello Orlando (Italy), Allan Ware (Germany) and Tsuneya Hirai (Japan) have been some of our most loyal and dedi¬ cated reporters from the international scene. Regret¬ tably, reports from other countries have been neither as frequent nor as regular as I would have liked.

As I mentioned in my first "From the Editor's Desk" in the Spring 1979 issue, "I feel that one of the most important responsibilities that the journal can fulfill is to serve as a vehicle through which the pre¬ sent generation of artist-teachers and performers can expound their philosophies of teaching and perfor¬ mance." Through the "Master Class" series and play¬ er interviews and profiles, I hope that we have been successful in this area, at least in part. Unfortunately, many players and teachers who have been invited to write for us declined the offer.

Knowing that the readership of The Clarinet is extremely wide-ranging in its interest in the clarinet — from those of us whose livelihood depends on it, to those who only play the instrument for fun or as a hobby — it has always been a challenge to try to put together an issue that would have some appeal and hold the interest of all of our readers. I realize that I have been only partially successful in this regard.

lS\incrr ^

Page 6 The Clarinet

IssKL

7ln // WCW//>('/.'/ «/ ( v v/.vc'// )/ic //(an

■ /f■*<*''

IIHI

Pir !#!

I have taken a special interest in the covers of our publication, since you can indeed "tell a book by its cover." Some of my past favorites have been: the A1 Gallodoro/Paul Whiteman art deco-esque photo on the May/June, 1994 issue; the Summer 1981 issue with the pic¬ ture of one of my German wood carving of a clarinet player (spe¬ cial, too, because it was our first full-color cover), which is now framed and on my office wall; the Holiday Inn/New Orleans clari¬ net mural on the February/March, 1997 issue; the Marx Brothers (thanks to the good work of my former student and Membership Coordinator, Elena Lence Talley) on the February/March, 1991 issue; "The Sketches of Benjie Goodman Lasseau" on the July/ August, 1994 cover; and the bee- covered, dixieland-playing, ento¬ mology professor from Califor¬ nia on the May/June, 1990 issue. (By the way, a friend told me that one of our most respected players and teachers was so incensed by this cover — feeling that it de¬ meaned the clarinet — that he withdrew his membership from the I.C.A.! However, this was never confirmed.)

As with any significant undertaking, there have been the inevitable peaks and valleys. Some years back I almost gave up the post over a flap concern-

fx

t - •* j.'

ing a book review, and the "tempest in a teapot" over the article on Klezmer clarinet was more than a little disconcerting.

However, these episodes pale in comparison to the lifelong friendships I have made with clarinetists all over the world, the knowledge I have gained and experiences I have had solely because I was in this position. Allow me to take this opportunity to express my sin¬ cere appreciation to all of the officers over the years, regular staff members and contributors (especially Himie Voxman and

j ^ee Gibson), ad managers (Henry Duckham, John Scott and Gary Whitman), review editors, Betty Brockett, Buchanan Printing Co. (now Buchanan Visual Com¬ munications), the readers and everyone else who has made the journal what it is today. (Trying to recall everyone I should have thanked from the past 20 years is proving quite impossible, I'm afraid.) It has been an honor and a privilege to have had this op¬ portunity to serve the I.C.A.

Through all of the name changes and reorganiza¬ tions of our various clarinet societies, the one con¬ stant was always The Clarinet. Thank you for al¬ lowing me to keep it on track and pointed in what I hope has been the right direction.

L&\ii

l Aiyner

■V

\Jk

'fev

\

♦


SOLO DE CONCOURS, Op. 10

by Henri Rabaud

by Guy Deplus

Guy Deplus

The French composer and conductor Henri Rabaud (1873-1949) was bom in Paris and studied with Mas¬

senet and Gedalge. He was the director of the Conservatoire de Paris from 1920 to 1941. Among his compositions are the fol¬ lowing operas comique: Marouf du Caire, La fille de Roland, L'appel de la mer, the opera Rolande et le mauvair gargon, music for film and theatre and chamber music.

Solo de Concours, Op. 10 was com¬ posed in 1901 for the competition at the end of the school year, and it was dedicat¬ ed to Charles Turban, the clarinet profes¬ sor at the Conservatoire at the time. It was first published by Evette & Schaeffer Ed., but later, in 1951, Alphonse Leduc Ed. published an edition revised by Ulysse Delecluse, the clarinet professor at the Paris Conservatoire at that time. This sec¬ ond French publication has more editorial markings (accents, nuances, cedendo, piu mosso, etc.) and different notes on the last page, mm. 183-186 (see Example No. 1).

In France we usually play the second edition by Leduc; that is to say:

First page: Moderate (written j = 66 in the first publication). It is about right, but poco ad. lib., like an improvisation. In m. 3, add a small fermata to the B'' and another small fermata on the A^ on the third beat (but a little less), etc. Mm. 9-13 should be played all/, except for the diminuendo on the last two notes. The last two lines on this page should be played forte and the ascending arpeggios should not be rushed (see Example No. 2).

EXAMPLE

Second page: Largo (^ = 63) [While many of us have thought for years that the suggested metronome marking was a mistake, Mr. Deplus feels that the printed marking is correct due to the Largo indication. The Leduc edition provides breath marks to accommodate the slower tempo. Ed]; Breathe in m. 20 after the first note, but only if necessary (see Example No. 3).

Page 8 The Clarinet

Tempo^

EXAMPLE

Allegro (j = 144-152); m. 39: the G should be short (subito in the new tempo). From here until the end do not change the tempo. Do not forget the new things in the second (Leduc) edition — m. 71: c; mm. 72-73: >; mm. 91-98: p\ m. 107: /?; m. 130: p\ m. 134: pp; m. 167: <; m. 169: >; m. 173: >; mm. 174-175: <; mm. 176-177: >; mm. 183-186: differ¬ ent notes (see Example 1).

This is what is considered the correct tradition.

About the Writer...

Guy Deplus studied at the Consen'a- toire National Supeheur de Musique de Paris where he obtained a first prize in clar¬ inet and chamber music. [He won his first prize in clarinet in 1945 when the contours piece for the year was Henri Martelli's Pre- ambule et Scherzo. Ed.] Presently he is clar¬ inet professor at the Ecole Nonnale de Mu¬ sique de Paris after having been professor of chamber music and clarinet at the Con- servatoire National Supeheur de Musique de Paris (1972-1989). He performed with the Garde Republicaine Band and as first soloist with the Paris Opera, with the Do- maine Musical with Pierre Boulez, the Con¬ certs Colonne, the Ars Nova with Marius Constant and the Paris Octet. He has been a jury member of international competitions in Munich, Geneva, Prague, Paris, Reims, Brussels, Dos Hermanas (Seville), Italy

(Mercadante) and Krakow. Composers such as Constant, Rivier, Ballif, Moene, Rivier and Chaynes have dedicated works to him and he has premiered works by Messiaen, Xenakis, Amy and Mas, among others. He

has made many highly acclaimed record¬ ings of works by Mozart, Weber, Rossini, Brahms, Ravel, Saint-Saens, Poulenc, Stravinsky and Messiaen, and he has col¬ laborated with such conductors as Stravin¬ sky, Sold, Monteux, Munch, Boehm, Sa- wallisch, Boulez and Ozawa. He has per¬ formed at numerous I.C.A. conferences over the years.

[We look forward to future articles in this series by Mr. Deplus on concours works by Widor and Messager. Ed.]

QUESTIONS ABOUT YOUR MEMBERSHIP?

PROBLEMS WITH MISSED MAGAZINES?

ADDRESS HAS CHANGED?

Contact: Elena Lence Talley,

LC.A. Membership Coordinator

P.O. Box 7683, Shawnee Mission, KS 66207-0683

Phone/Fax: (913) 268-3064

FROM CARRYING TO CONTROL

[VOLUTIONAffl

THE KOOIMAN THUMB REST FOR CLARINET

AND OBOE

(patented) — adapts to the anatomy of

hand and thumb — opens the hand more — relaxes both hand and

fingers — lessens the strain and

makes playing effortless

Exclusive U.S. Distributor:

The Selmer Company, Inc. P.O. Box 310 Elkhart, IN 46515-0310 U.S.A. Phone: 219-522-1675

ION MOOiMAN

Woodwind instrument parts manufacturer

The Netherlands Tel: +31.30.6662941 Fax: +31.30.6663379


By Note or by Rote

by Michael Webster

Michael Webster

Shin'ichi Suzuki died earlier this year at the age of 99. He was argu¬ ably the most influential music edu¬

cator of the century, having successfully applied his observation of language devel¬ opment in young children to the teaching of the violin. His method of class instruc¬ tion and parental involvement burgeoned worldwide and became particularly popu¬ lar in the United States. Suzuki training made a significant contribution to the development of public school orchestral programs nationwide. When I was in pub¬ lic school in the 1950s, band programs abounded, but string programs were rare. The "bridge to the 21st century" now seems to be a violin bridge, and thousands of children can be seen carrying miniature cases of all sizes to and from their lessons and rehearsals.

Suzuki's accomplishments, however, were not achieved without controversy. By far the most significant criticism of his method is the use of rote learning techniques, which, in the eyes of his critics, do not allow for independent musical thought and create difficulties in learning to read music. It has been scientifically documented that learning by listening or by reading are two entirely different brain functions, and that some people learn more easily one way or the other. The Beatles never read music, nor did many wonderful jazz artists, but there are many of us, myself included, who have been so strongly trained to read music, that we find "playing by ear" to be unnaturally difficult. That there is a middle road is proven by such artists as Benny Goodman, Richard Stoltzman and Eddie Daniels; in fact, the clarinet has a particularly distinguished history of performers who do both well.

But what about the rest of us? I did play jazz during my high school years and am not a complete dunce when it comes to improvising. But I must admit that one of the most stressful moments in my entire performing life came when Eddie Daniels was guest soloist with the Rochester Pops and Eric Kunzel had chosen an orchestral arrangement of When the Saints Come Marching In to close the program. I imagined myself standing at my chair in the orchestra when called upon to improvise 16 measures of Dixieland and being laughed off the stage with my lame efforts, starkly contrasted with the virtuoso riffs Eddie would be producing earlier in the program. I would much rather play Galanta Dances and Miraculous Mandarin in the same evening, which, in fact, I once did at a con¬ siderably lower level of stress.

What did I do? Well, I ... er ... cheated. I bluffed my way through the rehearsal, went home, worked out a few licks and essentially played a "planned improvisation" during the concert. It wasn't Eddie Daniels, but it was well received, and I never "confessed" until now.

You can see where my train of thought is leading. The best musical training, in my opin¬ ion, neglects neither the ear nor the eye and allows rote and note learning to develop simul¬ taneously. In my previous article, the students had just learned to play "E, D, C" in the left hand. Now they will learn to play the following tune, but by rote, not by note ... yet.

£4 1 ,

EXAMPLE 1

1 Ifl — , ^ i ^ 1 J jJ J >4 i }

-7—1—n— \ 1 1 1 1 Jl a O^0^0 —^ i >—^

The big advantage to rote learning is that the student is relating directly to

the instrument and, therefore, can concen¬ trate more upon the technical issues of embouchure formation and hand position.

Controversy over his rote methods of¬ ten overshadows the real crux of Suzuki's success: selection of materials relative to the technical demands of the instrument. The "Mississippi Hot Dog" variation of Twinkle, Twinkle Little Star immediately addresses the most basic issue of string playing: drawing the bow and stopping the bow with appropriate amounts of speed and pressure. Left hand involvement is minimal, reading music is not an issue, and the student can become acquainted with the instrument by concentrating pri¬

marily on the right hand — playing a tune that is fun and familiar.

For woodwinds, basic technical de¬ mands are different from the violin. Our first priority is forming an embouchure that can produce a beautiful tone and learning how to supply a stream of air over an ex¬ tended period of time. The material I've chosen to introduce the clarinet is very dif¬ ferent from Suzuki's material because the demands of the instrument are different. The goal is the same, however: to start by producing a tone in the most basic, efficient way, to avoid attacking too many problems at once, and to use material that is fun and familiar. Students immediately recognize my tune as being Man' Had a Little Lamb, and it doesn't seem to bother them that I've altered it to avoid repeated notes.

Page 10 The Clarinet

Why avoid repeated notes? In a survey of 20 beginning clarinet methods, I was able to divide them into two categories. Thirteen began by stressing articulation with each note tongued — usually starting with repeated notes. Seven stressed legato playing, using the tongue at the beginning of slurred phrases. During my years of teaching students of every level of advancement, I have developed a strong preference for the latter approach. Simulta¬ neous motion of the tongue and jaw are inherent in both eating and speaking. In playing the clarinet, it is difficult but very important to separate tongue motion from jaw motion, and the legato approach accomplishes this more easily. Apart from the French horn, the clarinet is the most "dangerous" instrument to play because of unintentional harmonics, which on other instruments can be nearly inaudible evidence themselves as horrendous squeaks. Avoiding extraneous jaw motion is crucial!

To that end, I go one step further than the legato methods. My students don't use their tongues at all for the first several weeks of playing! Does it work? You bet it does! We are all so conditioned to starting every note with our tongues that we forget how easy it is to pro¬ duce a sound simply by blowing into the instrument. Without tongue involvement there is no temptation to move the jaw; that problem simply doesn't enter the picture, and the stu¬ dent can concentrate on embouchure and fingers. Later the tongue will be introduced as an interruption of a steady air stream; repeated notes will be avoided in the meantime.

Next the students learn the inversion of the tune (still by rote), a harmony line, and the harmony to the inversion.

/

EXAMPLE 2

iL i I I ( ( t ( 1 ( - \ \ M I - I i * ^ 2. ^ cl> Ci d? ^ & \ ^ \ d & \ rJ d a g1

1

/( it I i i 1 ( I l - 11 I \ ( - ■

4—%—j—t—|—r r ^ j—= 1 1 H-=- —M—i-»—

i

Qy i <7 c? \ J? a & & ft 1 e) & O—^

V 3 2 —J. J ^ i—

A, 1 1 M—\ i 1 i - \ (

U J l<J * '

0 a c r; c a • & rJ ^ A—;

i . i . i ■ ■ i - - i » ■=*

■jr d j j w 0 1 dj ' ^ M

We point out that these are mirror images — a sneaky introduction to

musical analysis. The four tunes can all

be played simultaneously, and a large class can have fun hearing all of the har¬ monies together.

Make sure that each technical rudi¬ ment is reestablished every time some¬ thing new is added.

Our checklist:

1. The reed is moistened, freed of warp, dried and placed carefully on the mouth¬ piece. If it responds too weakly, raise it slightly. If it responds too strongly, lower it slightly. Check each student's reed placement frequently. It is a diffi¬ cult skill.

2. The clarinet is comfortably supported by holding the thumb rest.

3. The angle of the clarinet and the position of the upper teeth and lower lip on the mouthpiece should be determined by the teacher. Adjust the placement of the lower lip depending upon the quality of sound. If pinched, the lip is placed lower. If uncontrolled, the lip is placed higher.

4. The left hand approaches from the rear, contacts the G# key, and curves the fin¬ gers over the holes. Fingers are gently curved at each knuckle and not allowed to collapse. (Only rarely will a double- jointed condition make this impossible.) Reestablishing the curve from the rear and having the student resist while you gently push each knuckle usually fixes collapsing knuckles.

5. Each finger gently seals the hole by correct placement rather than undue pressure. Small fingers may sometimes have trouble with this, but we'll be get¬ ting lots of practice with the left hand before moving to the right hand, where the holes are even bigger.

A final comment about Suzuki is in order. If we don't introduce the clarinet until age 10, aren't we losing up to six valuable years of mental and neuromuscular development? The answer is "yes." Until recently, I advocated early keyboard training as the solution to this problem, and it still is a good one. But I have re¬ cently heard reports of success with the "Kinderclarinet," a cheap plastic instru¬ ment pitched in Ek Because of its size, it can be handled by a smaller child. It is size, not age, that matters. I have no per¬ sonal experience with Kinderclarinet, but any early instrumental training (key¬ board, recorder, strings) is preferable to none at all. Every child should have an opportunity to choose an instrument that appeals to them, but it is very important that they be large enough before trying to handle a full-sized woodwind.


ANNOUNCING:

nternational

Musical

Suppliers

inc.

QUALITY INSTRUMENTS AT AFFORDABLE

PRICES!

CALL: 1 -800-762-1116

The materials in my method are geared to the 10-year old, relying primarily upon excerpts from the great composers, interna¬ tional folk music, and tunes and exercises written for specific technical challenges. The basic approach, however, could easily be adapted to a Kinderclarinet program. Meanwhile, there will always be children whose first instrumental lessons come at age 10, and their materials must be more sophisticated than those for a four- or five- year old.

"Intonation and Notation" will be the subject of our next article.

The Clarinet

PUBLICATION SCHEDULE

The magazine is usually

mailed during the last week

of February, May, July and

November. Delivery time within

North America is normally 10-14

days, while airmail delivery time

outside North America is 7-10 days.

The Clarinet and Saxophone Society of Great Britain. President: JACK BRYMER, O.B.E.

WHO IS CASS FOR? CASS is for everyone with an interest in the clarinet or saxophone whether players or non-players, young or old, beginners or professionals.

WHAT DOES CASS DO? CASS has as its aim the promotion of the clarinet and saxophone and their music. To this end it publishes a quarterley magazine, organises regular congresses and workshops, and runs an extensive music library.

THE MAGAZINE The quarterly magazine "Clarinet and Saxophone" is free to all members. It covers all aspects of both instruments with news and reviews of concerts, recordings, music and instruments, plus profiles of leading players, historical and technical articles, and features on all styles of music. It also provides a forum for the exchange of members' ideas and questions.

In addition to the magazine CASS produces a handbook of useful information such as members' addresses, library and

magazine catalogues and other resources. There is also an instrument insurance

scheme available to CASS members giving a 10% discount on policies from British Reserve.

THE CONFERENCE A high point of CASS activities is the annual summer conference held at a different venue around the country each year, when members have an opportunity to meet, play together and participate in masterclasses and discussions. Regular features of the event are concerts and clinics given by top international soloists and ensembles from all fields of music.

Smaller workshops are mounted throughout the year as well as courses designed specifically for teachers.

THE LIBRARY CASS members may borrow from a library which contains a large number of works for clarinet and saxophone, including some very rare material, as well as a great range of ensemble music for almost any combination of single reed instruments.

MEMBERSHIP FEES

All fees to be paid in sterling

Subscriptions UK & Eire Europe All other

Individual Membership £23.00 £25.00 £30.00

Senior Citizens

Students

Family

£17.00 £20.00 £25.00

£17.00 £20.00 £25.00

£30.00 £35.00 £40.00

Commercial, professional amateur & educational £35.00 £40.00 £45.00

Lite membership £275.00 £300.00 £325.00 NB. Payments by standing order carry

£2.00 discount

Subscription payments can be made by credit card. We accept:

Visa, Eurocard, and Mastercard.

Membership applications and enquiries to:

The Membership Secretary Susan Moss,

167 Ellerton Road, Tolworth, Surbiton,

Surrey KT6 7UB


^pne/Clarion, Snt.

profile

Ricardo Morales

"A young lion with the heart of a

virtuoso and the soul of a poet"

STames iPjme/Clarton, 3fnc.

ftnesit clarinet moutljpteces; anb barrels

Appointed Principal Clarinet of the New York Metropolitan Opera Orchestra at age 21, Ricardo

Morales has performed as soloist with the symphonies of Chicago, Cincinnati, Indianapolis, Florida,

Puerto Rico, Savannah and many more. He is scheduled to solo with the Met Orchestra in Carnegie Hall

next season. His critically acclaimed recitals and masterclasses have been featured around the world,

and his chamber music performances include prestigious presentations with The Chamber Music Soci¬

ety of Lincoln Center, the Metropolitan Museum of Art, chamber concerts with James Levine, and the

"Today" show. Mr. Morales is on the faculty of the Manhattan School of Music and Mannes College. He performs on Leblanc Clarinets with a ^jPne/Clarion, Bel Canto mouthpiece, designed and

hand crafted for him by James Pyne. For Pyne/Clarion products, call 1-800 JPYNE 440.


clarihote^

Richard Hawkins Joins

Leblanc as Mouthpiece

and Clarinet Specialist

Leblanc has recently announced that Richard Hawkins has been appointed tech¬ nician for the Woodwind Company, the mouthpiece division of G. Leblanc Corpor¬ ation. Before assuming his new duties. Haw-

Richard Hawkins

kins had already built his reputation as a noted clarinetist, clarinet teacher and mouthpiece maker. His interest in mouth¬ piece making began more than 10 years ago when he started modifying his own mouth¬ pieces in order to suit his own playing pref¬ erences. Then he began receiving requests to do the same for friends and colleagues.

Hawkins will act as a product specialist and tester for French-made Leblanc clari¬ nets. He plays the Leblanc France model 1190S Opus clarinet exclusively. An active contemporary, chamber and orchestral mu¬ sician, he made his solo debut at the Ken¬ nedy Center with Mstislav Rostropovich and the National Symphony Orchestra per¬ forming the Copland Clarinet Concerto.

Teaching continues to play an impor¬ tant role in his career, and he now divides his time between Leblanc and his acade¬ mic duties as instructor of clarinet for the Interlochen Arts Academy in Michigan.

New Clarinet Organization

in the UK

Clarinetwise is a lively, informal organi¬ zation aimed at promoting excellence in

clarinet playing and teaching. It is espe¬ cially for those of all ages who are still learning how to play and for those who teach them. The quarterly journals are written by a team of highly skilled and experienced teachers, examiners and pro¬ fessional performers with plenty of input from the members themselves. Each issue is full of ideas, news, views, information and fun competitions. There are advice pages, road tests of instruments, acces¬ sories and music and "how to" articles, all presented in a simple and accessible way. President Michael Collins writes in every issue. There is an annual UK Clarinet Workshop every November and other more specialized one-day events. Subscription rates are £12 in the UK, £18 in Europe and £24 in the rest of the world. Please write to Clarinetwise, Pengribyn, Cilrhedyn, Llan- fymach, Pembs., SA35 OAA, UK.

University of

N ebraska-Lincoln

Hosts Midwest ClariFest

Diane Cawein, professor of clarinet at the University of Nebraska-Lincoln, hosted the second annual Midwest ClariFest on Friday, March 13, 1998, on the University of Nebraska campus in Lincoln. Through¬ out the day more than 50 participants expe¬ rienced master classes, recitals, clarinet choir rehearsals and educational sessions. Master classes were presented by Cawein and renowned clarinet soloist Todd Palmer. The morning recital, presented by Cawein and Nicole Narboni, professor of piano at UNL, included works by Bloch, Harvey, Reger and Welcher. An afternoon recital by members of the UNL clarinet studio includ¬ ed music by Hindemith, Osbome, Temple- ton, Bliss, Solomon, Honegger and Men¬ delssohn. Cawein also conducted the Mid¬ west ClariFest clarinet choir in an evening recital which featured chamber music for the clarinet. The day concluded with a tre¬ mendous performance by Palmer.

In addition to the many performances were several informational clinics. UNL graduate teaching assistant Michelle Hall hosted a session for middle school students and band directors. In addition, each mem¬ ber of the clarinet studio gave brief presen¬

tations on various topics for clarinetists at any level. Among the topics were scales, warm-ups, well-known performers, equip¬ ment and care and maintenance. The 1998 Midwest ClariFest was a full day of learn¬ ing, playing and hearing great music. The clarinet studio at the University of Ne¬ braska-Lincoln is looking forward to the third annual Midwest ClariFest on Friday, March 12, 1999. There is no registration fee for the festival, and clarinetists of all ages are encouraged to attend. For further information, please contact Diane Cawein at <[email protected]>.

Air Force Clarinetist

Named Bandsman

of the Year

Senior Airman Dallas L. Neustel, as¬ signed to the United States Heartland of America Band at Offutt Air Force Base, Nebraska, has been selected as the United States Air Force Bandsman of the Year (airman category) for 1997. He is current¬ ly serving as section clarinetist in the Con¬ cert Band and Ceremonial Band and as the clarinetist in the Woodwind Quintet. Pre¬ viously he was selected as the Heartland of America Band's Airman of the Year and Air Combat Command's Bandsman of the Year in the airman category. He earned the Bachelor of Music and Bachelor of Arts degrees from Washington State University, and he is presently pursuing a master's degree at the University of Nebraska-Lin¬ coln. He has studied clarinet with H. James Schoepflin, Dennis F. Carey, Barb Novak and Diane Cawein.

New Editor Named

for CASS Journal

CASS magazine, the quarterly journal of the Clarinet and Saxophone Society of Great Britain, has a new editor, John Robert Brown, External Relations Consultant for Leeds College of Music, Britain's largest music college. Brown is the author of How To Play Saxophone (St. Martin's Press, NY), and wrote the chapter on "Jazz Clarinet" in The Cambridge Companion to the Clarinet (Cambridge University Press). He is the contributor of a regular Reed Clinic feature in the international musicians' magazine


Crescendo. He can be contacted via e-mail at <[email protected]>.

Air Force Band Announces

Young Artist Competition

The 1999 Colonel George S. Howard Young Artist Competition is open to high school woodwind, brass and percussion in¬ strumentalists, grades 10-12, who are U.S. citizens. The winner will perform as a solo¬ ist with The United States Air Force Band during the 1999 Guest Artist series at DAR Constitution Hall, Washington, D.C.

The required repertoire for the clarinet is the Weber Concertino, Op. 26. Deadline for submitting tape and other required mater¬ ials is November 3, 1998.

For further information, call 202/404- 8363, or get the details online at: <http.V/ www.bolling.af.mil/band.htm>.

1998 Montana/Idaho

Clarinet Festival

The 1998 Montana/Idaho Clarinet Fes¬ tival will be held on the campus of Idaho State University in Pocatello on Friday and Saturday, October 2-3, 1998. Guest artists include Julie DeRoche, DePaul University and Chicago Symphony; Steve Cohen,

Louisiana State University and Louisiana Philharmonic (formerly New Orleans Sym¬ phony); Marcus Eley (Rico Reeds) and Mar- ianna Lacaille, freelance artist from Seattle and New York.

College and university clarinet faculty from Montana and Idaho will also be fea¬ tured in our annual potpourri recitals. A new feature will be a student recital fea¬ turing one student from each college or university or outstanding high school stu¬ dents. Master classes will be conducted by Julie DeRoche and Steve Cohen.

Pocatello will most likely be enjoying "Indian Summer" in early October. The

plan is to conclude on Saturday evening or late afternoon in time for us all to adjourn to Lava Hot Springs for a good soak and dinner at the Wagon Wheel Inn. Pocatello boasts several nice but inexpensive motels within two blocks of the ISU Fine Arts Building and several fast food establish¬ ments. Other very nice bistros are in the downtown area only a few minutes from campus. Graduate In-Service credit will be available for an additional fee.

For information contact Alan Stanek, Host, Dept. of Music, Idaho State Univer¬ sity, Pocatello, ID 83209-8099, phone: 208/ 236-3364, e-mail: <[email protected]>.

The Lomax StC Clarinet Mouthpiece

"Finally, after 40 years of making the reed fit the mouthpiece, a mouthpiece that fits the reed!!!" Michael Lomax, principal clarinet,

Springfield Symphony The Lomax C{yln,s,sic designed from the ground up to play the Vandoren V-12 Clarinet reed strength 3^1. Rich dark covered sound, superb tuning and impeccable response. Price: $120.00

Available exclusively from:

MasterCard & VISA Money back guarantee

MICHAEL A. LOMAX CUSTOM REPAIRS

The Woodwind Corner 1012 S. Glenstone

Springfield, MO 65804 (417) 865-0996

NEW AND USED INSTRUMENTS JOEL O. LOMAX

ACCESSORIES

CLARINET TONE

ENHANCERS

Better sound Responsive sound

Easy on reeds.

Used by Mitchell Lurie

James Campbell and others

$3.95

MHARVA MUSIC 679 Coldstream Ave.

Toronto, Ont. M6B 2L6

(416) 783-5520 E-mail: [email protected]

GALPER CLARINET METHOD

Book 1 $6.95 Book 2 $8.95

THE UPBEAT BAERMANN $1495

MELODIC SCALE STUDIES

other works by Avrahm Galper

Joseph Achron

HEBREW MELODY $11.95

Bela Bartok

ROUMANIAN DANCES $11.95

Antonin Dvorak

4 ROMANTIC PIECES $11.95

Order in USA from

LUYBEN MUSIC 1-800-258-9236

1-(816) 753-7111

Fax: (816) 753-6879

Francisco Geminiani

SONATE $11.95

Alexandre Tansman

VISIT TO ISRAEL $11.95

Frederic Chopin

LARGO $7.95

PUBLISHER

WATERLOO

USIC

3 Regina Street North, Waterloo, Ontario, Canada N2J 4A5

E-mail: [email protected]


Claranalysis: by Lee Gibson

Vibratory characteristics of the material of which a clarinet's body is made do affect its tones.

Apparently the performer feels and hears these differences more than do one's lis¬ teners, who in blindfold tests usually fail to distinguish the tones of metal and wood clarinets. My virtuoso teacher at Eastman in 1936-38, R.M. Arey, played rosewood clarinets by Jacques Albert (Brussels) with an O'Brien Selmer crystal mouth¬ piece, which he preferred for its darker tone with the perhaps more brilliant rose¬ wood instruments. During the last decade there has been a resurgence of interest in alternative woods for woodwinds: rose¬ wood, cocus (cocobolo), etc., and even boxwood. (I have a Gregory Smith Zinner cocus mouthpiece which seems to vibrate quite beautifully with the reed.)

Ligatures also communicate their char¬ acter to the reed: Heavily impregnated fiber darkens tones most, as does Rov- ner's. The German cord ligature is rather neutral, leaving to the reed, mouthpiece and clarinet their determinations of color.

as is also true of the lighter plastics, such as Robert Vinson's excellent single-screw model. A soft nickel silver ligature, such as the no longer available Kaspar three- band reversed two-screw model, is my current favorite. (Charles Bay's ligature is in this genre.) Those desiring more pro¬ jection and brilliance may use the silver- plated brass ligatures presently furnished by French manufacturers. Of particular interest here is an unparalleled new "Floating Rail Ligature" developed by Peter Spriggs, Canadian National Chair¬ person for the I.C.A. Its two arched- lengthwise rails, supported by a surround¬ ing triple ring, furnish a totally different freedom to the reed, particularly in the highest registers.

Spriggs also manufactures precisely dimensioned wooden barrels of the highest finish and quality for ca. 14.65-70 mm. B'' and A clarinets, as well as the ^ clarinet. Address: The Clarinet Center, R0. Box 59, Penticton, BC, Canada V2A 6K3, Tel/Fax 250/497-8200; e-mail:<Peter_Spriggs@bc. sympatico.ca>.

Clark Fobes also provides precision- machined African blackwood barrels for B'' and A clarinets. Address: 130 Beverly, San Francisco, CA 94132, Tel./Fax 415/ 585-0636.

I wondered for years about Lee Spring¬ er's fine waterproof, dimensionally stable plastic barrels. Now that they are no longer available, one notes that James Pyne's are preferred over blackwood by some excel¬ lent clarinetists. For what reason, other than their stability? While acousticians have told us that the vibratory character of a wooden tube is not important, one be¬ lieves that it is significant, at least to the player. Again, if the performer believes that the plastic barrel produces a slightly dark¬ er sound by damping some higher frequen¬ cies, this may very well account for its increased use, although it is arguable that similar results might be obtained by chang¬ ing the dimensions of the mouthpiece, the reed and/or the ligature, for instance.

Clifford Ellsworth, who says that I failed to mention a most important virtue of his new RH A key (its provision of an in-tune Al'/B'' trill), also reports that Ri- cardo Freire's new Luis Rossi clarinet has the Ellsworth key. Freire is preparing a page of fingerings in the altissimo register with the Ellsworth key.

vertical pressure

not horizontal as

other ligatures

exclusive side shoulders *

• Will not distort or crush reed fibers nor warp mouthpiece as do metal ligatures

• Top and bottom straps are spaced wider apart and work independently of each other. (Helps regulate and control reed opening).

• Sound posts are scientifically designed to give equal pressure and full reed vibration.

• Tighten screws firmly to desired tension, (very important).

(816) 753-7111 4318 Main

Kansas City, MO 64111


WHO DO I CONTACT?

0 Send all articles, recital programs, orders for back issues, announcements and any other non¬ commercial items intended for publication in The Clarinet to:

James Gillespie, Editor/Publisher College of Music, University of North Texas • Denton, Texas 76203-136/

O-Send all inquiries about advertising in The Clarinet to: Gory Whitman, Advertising Manager

Department of Music, Texas Christian University • P.O. Box 29/500 • Fort Worth, Texas /6129

O-Send all printed materials (music, books, etc.) intended for review in The Clarinet to: Joseph Messenger, Editor of Reviews

Department of Music, Iowa State University • Ames, Iowa 50011

❖ Send all recordings intended for review in The Clarinet to: William Nichols, Audio Review Editor

School of Music, Northeast Louisiana University • Monroe, Louisiana 71209-0250

❖ Send changes of address, inquiries about I.C.A.. membership, missing issues, etc., to: Elena Lence Talley, I.CA Membership Coordinator

P.O. Box /683 • Shawnee Mission, Kansas 6620/-0683

Your Newly Elected I.CA Officers

The winners in the recent election for I.C.A. officers were as follows:

President-elect: Julie DeRoche

Treasurer: Robert Walzel

Secretary: Maurita

Murphy Mead

1999 Orchestral Audition Competition • Clarinetfest '99

Eligibility: Open to clarinetists of any age who are not currently employed as full-time members of a professional symphony orchestra. Application: For all contestants, send materials postmarked no later than Monday, April 12,1999 to:

I.C.A. 1999 O.A.C. Raphael P Sanders, Jr., Coordinator • Department of Music, Stephen F. Austin State University

PO. Box 13043 • Nacogdoches, TX 75962-3043 U.S.A. • Office: (409) 468-1360 • Fax: (409) 468-5810 • Email: <[email protected]>

I. Application fee: $35.00 U.S. (for I.C.A. members only, all others must pay the required membership fee and above application fee to participate) in U.S. currency. Please use International Money Order or check drawn on a U.S. bank. This fee is non-refundable.

II. Repertoire:

1. Mozart, Concerto, K.622. Mvt. I — Exposition only: measures 57-154

The following ore First Clorinet Excerpts: 2. Respighi, The Pines of Rome. Mvt. Ill — One measure before (13) to four measures before (14).

3. Beethoven, Symphony No. 6, Op. 68. Mvt. I — Two measures before K to 17 measures after K. Mvt. II — One measure before D to one measure before E.

4. Zoltan Kodaly, Dances of Galanta. Measures 31-65 and 571-580

5. Nikolai Rimsky-Korsakov, Scheherazade, Op. 35. Mvt. II — (F) to (G) Mvt. Ill — Second measure of (D) to (F) Mvt. Ill — One measure before (G) to (H)

6. Shostakovich, Symphony No. 9, Op. 70. Mvt. II — Beginning to (A) Mvt. Ill — Beginning to (C)

7. Felix Mendelssohn, A Midsummer Night's Dream, Op. 61. Measures 1 -48

III. A separate written statement, signed by the contestant, attesting that the recording is the playing of the contestant.

IV. A summer address and telephone number should be provided, if necessary.

Judging Judging of tapes will be conducted with no knowledge of the contestants. Do not include any identification on the cassette or on

the cassette box. There should be no speaking on the tape such as announcing excerpts. Preliminary judging will be by taped audition. Semifinalists will be chosen by committee. Letters of notification will be mailed by Monday,

May 3,1999. Semifinal and final round will be held at Clarinetfest '99 at Ostend, Belgium, with repertoire consisting of the works listed. All contestants will accept the decision of the judges as final. All semifinalists will receive free registration at Clarinetfest '99. Travel, hotel

and meal expenses will be the responsibility of the contestants. All cassettes will become the property of the I.C.A. and will not be returned unless a stamped, self-addressed envelope is provided.

(Use U.S. postage or an International Postal Coupon.)

Prizes Both a First and Second Prize will be awarded. These prizes will include gift certificates and/or merchandise from major musical establishments.

Please note that no application form is required.



1 9 9 9 YOUNG ARTIST COMPETITION Eligibility: The Competition is open to ail clarinetists who shall not have reached the age of 27 years by January 1,2000, provided that they are not currently under major artist management. Application: Send materials postmarked no later than Friday, April 23,1999 to:

1.C.A. 1999 YAC • Julie DeRoche, Coordinator DePaul University School of Music • 804 W. Belden Ave. • Chicago, IL 60614 U.S.A. Phone: 773.325.4365 • FAX: 773.325.7264 • e-mail: [email protected]

Contest Rules 1. Application fee: $25 U.S. All applicants must be members of the I.C.A., and must provide proof of membership. Non-members wishing to apply may joint the I.C.A. by including the

appropriate membership fee with their contest application fee. Make amount payable to the I.C.A. in U.S. currency. The fee is non-refundable. 2. Please provide a good quality cassette tape recording containing the following repertoire in this order:

1. Victor Babin Hillandale Waltzes, Eble Music Co. 2. Elliott Carter GRA for & clarinet alone, Hendon Music, Boosey & Hawkes

3. Carl Maria von Weber Concertino, Op. 26, Fenton Edition The recording should be made on new tape on one side only, with accompaniment where appropriate. Please be aware that the quality of the recording will influence the judges.

3. A photocopy of the contestant's driver's license, passport or birth certificate as proof of age. 4. Both the private teacher, if any, and the contestant attest, in a separate written and signed statement, that the recording is the playing of the contestant and has been unedited. 5. A summer address, telephone number and e-mail address, if applicable, should be provided if different than those used during the academic year.


Judging Judging of the tapes will be conducted with no knowledge of the contestant. Do not include any identification on the cassette or the cassette box. There should be no speaking on the tape, such as announcing of compositions. Preliminary judging will be by taped audition. Semifinalists will be chosen by committee. Letters of notification will be mailed by Monday, May 24,1999. Semifinal and final rounds will be held at ClarinetFest '99, to be held in Ostend, Belgium, July 6-11,1999, Repertoire will consist of the works listed above. Past first-prize winners are not eligible to compete. All contestants will accept the decision of the judges as final. The I.C.A. will provide a pianist for all semifinalists and finalists. All semifinalists will receive free registration at ClarinetFest '99. Travel expenses will be the responsibility of the contestant. All cassette tapes will become the property of the I.C.A. and will not be returned unless a stamped, addressed envelope is provided. (Use U.S. postage or an International Postal Coupon.)

Prizes first prize - a new clarinet $1,000 U.S. and a performance at ClarinetFest • second prize - $750 U.S. • third prize - $500 U.S.


1 999 HIGH SCHOOL SOLO COMPETITION

Eligibility: Open to all clarinetists who are currently enrolled in high school and who shall not have reached the age of 19 years by January 1,1999. Application: The following materials must be received no later than Saturday, May 1,1999, addressed to:

I. C. A. 1999 High School Solo Competition Gerald King, Coordinator • School of Music • University of Victoria

P.O. Box 1700 Victoria, British Columbia, Canada V8W 2Y2

Contest Rules 1. Application fee: $25 for current I.C.A. members, $35 for nonmembers. Payment may be made by check or money order. Make checks payable to the International Clarinet Association in

U.S. dollars. Please use an International Money Order or check drawn on a U.S. bank. The fee is nonrefundable. 2. Good quality cassette tape recording with the following repertoire in the following order:

1, Carl Maria von Weber, Grand Duo Concertant, Op. 48 (Rondo only) Schirmer 2. Charles Villiers Stanford, Three Intermezzi, Op. 13 (all three) Ed. Colin Bradbury, Chester Music

The recording should be made on new tape on one side only, with noise reduction clearly marked. Please be aware that the quality of the recording will influence the judges.

3. A photocopy of the contestant's driver's license, passport or birth certificate as proof of age. 4. A separate typed statement attesting that the recording is the playing of the contestant. The statement must be signed by the contestant and should include the contestant's name, permanent

address, home telephone number, class level and name of school. 5. Name, address and telephone number of clarinet teacher.


Judging Judging of tapes will be conducted with no knowledge of the contestant. Do not include any identification on the cassette or on the cassette box. There should be no speaking on the tape, such

as announcing of compositions. Judging will be by taped audition, and the contestants will accept the decisions of the judges as final. Notification will be sent by May 31,1999, and an announcement will be printed in the November/December issue of The Clarinet. All cassettes will become the property of the I.C.A. and will not be returned unless a stamped, addressed envelope is provided with U.S. postage or an International Postal Coupon.

Prizes first prize - $500 • second prize - $350 • third prize - $250


Muncy Winds

Is Playing Your Tune!

Call (?00) 222-64-15 or (704) 962-70?2

Muncy Winds, PO Box 1274, Boons, MC 2^607 Fax (704) 962-^990

Web Site http://mernberfi.aol.corn/muncywinde/ Email: [email protected]

Cfieck Out These

Mew Producte!

Michele Zukovfiky'e Mew CD!

Mew Reed Models!

Patricola Roeewood Clarinete!

Pobefi Pro Clarinet Mouthpiecee!

Robert Lifitokin's Mew CD!

Mew Grand Concert Select Reeds!

Pyne Clarinet Mouthpieces!

Orly Clarinet Cases

Single, Double, & Triple!

Mew Eddie Daniels II Ligaturefi!

Mew Vandoren Optimum Ligatures!

Por More Information Call:

1 (?00) 222-6415

by William Nichols

Congratulations to clarinetist and jazz legend Buddy DeFranco, who was nominated early this year for a

Grammy award in the Best Jazz Instru¬ mental Solo category for his CD, You Musi Believe in Swing. This recording is in col¬ laboration with Dave McKenna and is on the Concord label. A review of this disc will hopefully appear soon in an upcoming issue. Last summer I and a couple of other "youngsters" spent an enjoyable lunch with Buddy DeFranco. He is a treasure chest of knowledge and authoritative opinion about the jazz world in which he has performed professionally for more than 60 years. He has recorded more than 150 albums and still plays beautifully in his elegant tasteful style, which is attested to by this latest Grammy-nominated disc.

Czech musician Bohuslav Martinu (1890-1959) has long held a higher profile in central Europe and France than on the American continents. This is also true of his recorded repertoire. Currently the over¬ whelming majority of the many recordings of his vast and varied output comes to us from European sources. Martinifs chamber works have been growing in popularity in the United States in recent years, and I am excited to have a new recording by superb American artists. From Summit Records comes a disc which features Los Angeles Philharmonic principal clarinetist Michele Zukovsky in collaboration with other Phil¬ harmonic members, as well as some other leading L.A.-area musicians known collec¬ tively here as the Bohemian Ensemble Los Angeles. The four works included are La Revue de Cuisine, the Sonatine for clarinet and piano. Pastorals (Stowe) and the Quar¬ tet for clarinet, horn, cello and side drum.

The Sonatine is well known to many clarinetists as a standard recital work and is beautifully played. Michele Zukovsky's tone is rich, full-bodied, dark in timbre, and she exhibits superb technical control.

The piece is sensitively played, and its character (which often eludes players) is quite effectively captured. Special men¬ tion should be made of the stunning per¬ formance of pianist Gloria Chang-Cochran. Her playing of the Sonatine is the most committed, clean and rhythmically vital known to this writer. The work has been recorded numerous times since it first appeared in the late 1950s, but surprising¬ ly, this recording is one of only three read¬ ily available. La Revue de Cuisine (The Kitchen Revue) of 1927 is ballet music for clarinet, bassoon, trumpet, violin, cello and piano, and is one of the composer's more popular works. Founded in the then current neo-classical movement and com¬ posed in Paris, it is jazz-influenced, clever and never fails to please. Its dance move¬ ments are stylish and well crafted. This performance is exemplary. Lesser known is the unusually scored Quartet (1924) for clarinet, horn, cello and side drum. Stra¬ vinsky's hand can be felt in this three- movement piece, which is strikingly effec¬ tive. The central movement, "Poco an¬ dante," is a highlight of the recording. This 12-minute quartet is a natural recital audi¬ ence pleaser. Commercially recorded here for the first time is the Pastoral (Stowe) for an also unusual ensemble consisting of five recorders, clarinet, two violins and cello. Completed in 1951 in Stowe, Vermont, it was written for the von Trapp Family of The Sound of Music fame. The piece ex¬ hibits a rather rustic and happy character, at times not unlike the Sonatine. The tone colors realized by this group of instru¬ ments is quite unique. The clarinet used here is a C instrument and is less promi¬ nent in the scoring than in the Quartet and La Revue.

All of the music contained on this disc is masterfully played and is very well record¬ ed. The sound is natural and clear, and the performers are appropriately placed within the sound stage. The 48- minute timing is a bit stingy. The currently unavailable Ser¬

enades of 1932, which include clarinet, would be a welcome addition to this disc (or perhaps the Sextet of 1929). This production from Summit Records is one of the best chamber music discs to come my way recently — strongly recommended. The catalog number is DCD 214. Summit is dis¬ tributed by Allegro or can be ordered by calling 1-800-543-5156.

For those who are interested in clarinet ensemble music in the light vein, includ¬ ing pop and jazz styles, there is a disc from the German firm Signum entitled Fas¬ cinating Rhythm, which has been available for some time, but has not made it into these pages until now. The quartet of per¬ formers are the Ensemble Clarinesque, whose members are Bettina Theile, Frank Christmann, Bruce Edwards and Christof Hilger. They are joined by saxophonist and clarinetist Stuart Curtis in five selec¬ tions, one of which utilizes clarinet. The four members of this ensemble double ex¬ tensively and use at various times not only clarinet, bass clarinet and clarinet, but basset horn and contrabass as well. There are 11 titles presented, all but one being arrangements, several by Bruce Edwards, and Gertrud and Bruce Edwards. Selec¬ tions include the disc's title tune, Gersh¬ win's Fascinating Rhythm, Harry Warren and Mack Gordon's There Will Never Be Another You, Stephen Sondheim's Send In the Clowns, Henry Mancini's Pink Pan¬ ther Theme, Dave Brubeck's Blue Rondo a la Turk, two Brazilian tunes, Villa-Lobos' Bachiana Brasileira No. 5, and songs from Kurt Weill's Threepenny Opera, arranged for quartet by Tilmann Claus. There is a six-minute recent work which blends jazz and classical styles and which appears to be an original quartet piece entitled Tim- Tam Bird by Wilhelm Lutz-Rijeka.

This disc is a marvelously engineered recording played by an excellent collec¬ tion of players who have worked together since 1985. All were at one time students of Franz Klein in Cologne. They have a


keen sense of stylistic inflection, rhythm and precise ensemble. The arrangements are effective save a few spots in the Three¬ penny Opera music. Tilmann Claus' use of three El' clarinets and the manner which he uses them in Mack the Knife is somewhat bizarre and not in the character of the music at hand. The tone colors contained on this disc are extremely varied, rich, and are enhanced by the soprano, tenor and baritone saxophone playing of Stuart Cur¬ tis. The recorded sound is close-up, de¬ tailed and gets the listener involved. The contrabass clarinet in the Pink Panther Theme will test your system's bass exten¬ sion. My subwoofer got some good exer¬ cise. A number of striking sounding quar¬ tet recordings have been available recent¬ ly. This ranks with the best in its sonic characteristics. If this literature is of inter¬ est to you, this impressive CD is recom¬ mended. The label is Signum SIG 76-00, distributed by Qualiton Imports, Ltd. (En¬ semble Clarinesque performed at the '98 ClarinetFest in Columbus.)

From Newport Classic comes a delight¬ ful disc entitled For Winds which features members of the Bronx Arts Ensemble per¬ forming music of American Robert Baksa. Paquito D'Rivera is joined by pianist Pablo Zinger in the Sonata for alto saxophone and piano of 1991. Cuban-born D'Rivera, who is also an accomplished clarinetist, was mentioned in my last "Audio Notes" in regard to his work with the Caracas Clar¬ inet Quartet. This Sonata is a very attractive work reminiscent of the Creston Sonata. Oboist Marsha Heller and pianist Elizabeth Wright perform Baksa's equally attractive Sonata. Two quintets are presented, the Quintet for bassoon and strings with bas¬ soonist William Scribner, and the Quintet for clarinet and strings of 1973 with clari¬ netist Paul Gallo. Gallo is joined by violin¬ ists Gerald Tarack, Browning Cramer, violist Susan Follari and cellist Leo Grinhauz. Playing from all the accomplished artists on this disc is excellent.

Robert Baksa is a tonal composer who utilizes classical tonal forms throughout the works presented here. The Clarinet Quintet is a three-movement work clearly in the spirit of the 19th century. It is tuneful, well crafted, a rich aural experience, and most importantly is a satisfying musical exper¬ ience. Paul Gallo is a well-known player

based in New York. He exhibits a beautiful sound and smooth facility. The clarinet part becomes somewhat soloistic in the con¬ cluding movement of this otherwise cham¬ ber style piece, and the clarinetist is up to the challenge. There is nothing strikingly unique or new here, but there is an engag¬ ing and pleasing musical experience to be had, an experience in the tradition of Mo¬ zart and Brahms.

The recorded sound is first rate. Bal¬ ance, presence and timbre are natural, and the entire disc is warm and never harsh. The 68 minutes of music contained here passes by very quickly. This is an excel¬ lent production of beautifully crafted and played music in traditional style. The la¬ bel is Newport Classic NPD 85624 which is distributed by Allegro. The manufactur¬ er can be contacted at tel. 401-848-2442 or fax 401-848-0060.

The sixth volume of the Verdehr Trio's The Making of a Medium series has been available for some months now. This new¬ est disc departs somewhat from previous practice in that in addition to works for the Trio (Walter Verdehr, violin; Elsa Ludewig- Verdehr, clarinet; and Gary Kirkpatrick, pi¬ ano), it also presents two violin and piano sonatas: the Second Sonata of David Dia¬ mond and the Sonata of John Corigliano. Violinist Walter Verdehr is joined by Gary Kirkpatrick in the Diamond and by guest artist Ralph Votapek in the Corigliano. Both works are significant contributions to the repertoire, and while they are not staples in many violinist's programming, they are not total strangers to this writer. The Corigliano (from 1963) has achieved some prominent status among American violin works. It is a substantial work of some 23 minutes and has found its way onto disc some four or five times, including one recording by the composer's father with the present disc's Ralph Votapek at the piano. Both works are masterfully written and beautifully played by these artists.

Probably of greater interest to our read¬ ers is the remainder of the music contained here. The Verdehr Trio performs two pieces by prominent Australian composer Peter Sculthorpe whose music has been reviewed several times recently in these pages. These pieces entitled Night-Song and From Nour- langie are arrangements made in 1995 by the composer for the Verdehr Trio. They are

more than arrangements, however, both be¬ ing based upon earlier works of Sculthorpe. Night-Song is a seven-minute work of se¬ rene beauty. It is essentially simple music based on an early song of the composer and has a sense of freshness about it. The roots of the brief From Nourlangie come from a guitar concerto of 1989, a piece composed after a visit by the composer to the Kakadu National Park in northern Australia. Nour¬ langie is a rock monolith in the park. Both these pieces create atmosphere in a some¬ what minimalist repetitive fashion (espe¬ cially From Nourlangie) but are not that at all. They exhibit change and forward mo¬ tion which engages the listener throughout. This music enchants and is effectively per¬ formed and recorded.

David Diamond has been an important figure on the American musical scene for more than half a century. His Trio for vio¬ lin, clarinet and piano of 1994 is a major new contribution to this genre. It is a four- movement work of 28-minute duration that was commissioned by the Library of Congress and dedicated to the Verdehr Trio, who gave its premiere performance. This piece is rhythmically very energetic and exhibits a strong American character, which is so often present from composers of Diamond's generation. Basically tra¬ ditional tonal structures, such as sonata form, Scherzo and trio, ABA and sonata- rondo are used in a clearly 20th-century manner. The "Scherzo" is a striking and intriguing display of virtuosity. The last movement is an example of vigorous counterpoint which is a bit hard to warm up to. This Trio, however, is a piece which yields greater rewards with repeated hear¬ ings. The recording is certainly the defini¬ tive performance. The sound presented on this CD is clear with generally good pres¬ ence. The balance is good albeit there is some over emphasis of the clarinet in the Diamond work at the violin's expense. It is recommended to anyone interested in new works and mainstream American classical music. It contains major works by two im¬ portant American composers and a very prominent Australian. Production details such as notes, photos, etc. are excellent. The label is Crystal CD 746, available in many retail outlets or by mail order, tel. 360-834-7022 or fax 360-834-9680.


Christie Lundquist, principal clar¬ inetist for the Utah Symphony for the past 21 years, died in Cali¬

fornia on March 12, 1998, after a lengthy illness. "She was a superb artist," said Utah Symphony conductor Joseph Silverstein. "It will be difficult for the orchestra to find another person who will have a similar artistic impact." She established herself as a soloist, recitalist and teacher, and Ingolf Dahl and Halsey Stevens composed works specifically for her.

Lundquist earned her degrees at the University of Southern California and the Cleveland Institute. She joined the Utah Symphony in 1977. She also taught pri¬ vately. "She had a sense of inspiration, playing from the soul instead of from the head," said Kathy Pope, a close friend and student of Lundquist's in the late '70s.

A Christian Scientist, she listed the Bible and Science and Health as her favor-

ite books in a symphony question¬ naire. "The most important things in her life ... first was God, then family, then music, then friends," said her mother.

The March 27-28, 1998, issue of the Utah Symphony Program in¬ cluded the following tribute writ¬ ten by Erich Graf, the orchestra's principal flutist:

One of the Utah Symphony's pro¬ foundly beautiful and expressive voices has been silenced with the recent passing of its principal clarinetist, Christie Lundquist. Ms. Lundquist's uniquely vocal perfor¬ mance style and evocative musi¬ cianship became a characteristic of the Utah Symphony's sound. Her artis¬ tic expression and projection was an inspi¬ rational solicitation for all to listen. Christie exhibited an intense sense of coin-

Christie Lundquist

mitment in virtually every aspect of her being. This fervency was obvious not only in aesthetics, but also in her simmering intellectual curiosity and constant pursuit

SOLOS, DUOS AND CHAMBER MUSIC! unaccompanied clarinet: A DAY IN THE CITY "7 Vignettes" by Howard Buss. These colorful musical

scenes from the city are attractive recital pieces. (10') B302 $4.95 NOCTURNE by Howard Buss. This lyrical composition evokes the pensive and

mysterious aura of the night. (S'/s') B328 $3.25 SANTIAGO LEGEND by Howard Buss. Written for Luis Rossi. This composition

showcases the expressive and technical capabilities of the distinct registers of the clarinet. (6') B355 $4.95

clarinet and piano: DIALOGUE by Howard Buss. Hard driving sections contrast with beautiful lyrical

passages in charming balance. (13V2') B315 $12.00 NIGHT PIECE BY David Alpher. At times lyrical and romantic, at others urban

and on-the-edge, this is an exquisite recital piece. (6V2') BIOS $8.50 POLEMICS by Randall Snyder. This exciting work is in a spiky and hard-edged

style. Recorded on CRS by John Russo. (5') B812 $9.50 SEASCAPE by Zack Browning. This flashy and engaging work suggests images

of the grandeur of the sea. (W) B203 $16.00 solo clarinet and percussion: COEXISTENCE by Howard Buss. Dramatic tension permeates as the solitary

clarinet is pitted against the potentially overpowering might of the percussion battery. (9') B311 $16.50

duos: C0MEDIE CHALUMEAU for 2 clarinets by Randall Snyder is a humorous romp

through argumentative counterpoint and quotes from the literature. (5') B811 $8.50

IMPROMPTU for clarinet and marimba by Howard Buss. "A very accessible and enjoyable work" —Percussive Notes Magazine. (6') B321 $8.75

TIME CAPSULE by Howard Buss is an incisive, entertaining sonatina in four movements. (7') Version for flute and clarinet: B350 $8.50

Version for clarinet and violin: B351 $8.00 TWIN MOONS for flute and clarinet by Roger Vogel. This colorful duo is sugges¬

tive of the interweaving orbits of the moons of Mars. (6') B911 $4.95

trios: AWAKENING for clarinet, guitar and string bass by Howard Buss. Based upon

a Jewish idiom, this soulful work is a tribute to Giora Feidman. (7') B307 $8.50

CAPRICCI0 for clarinet, trombone and percussion by Howard Buss. "Frolicking and freewheeling with 12-tone Dixieland to boot!" —The London Times. (13') B309 $20.00

CONSENSUS FENCES for clarinets/bass clarinet, flute/piccolo and string bass by Erik Lund. This energetic trio is a "must" for the advanced new music ensemble. Recorded on Opus One Records. (IOV2) B401 $16.50

DESERT ODYSSEY for clarinet, bassoon and piano by Howard Buss was in spired by the dramatic landscapes of the American Southwest and was premiered at Clarinet Fest '97. (8') B357 $16.50

FANTASIA for clarinet, flute and piano by Howard Buss. This memorable work moves gradually from a contemplative opening to an intense and driving finish. (7V2') B319 $10.00

FLORIDA TABLEAU for clarinet, trombone and piano by Howard Buss. "A curious blend of the old and new, much like modern Florida itself" —The Orlando Sentinel. (17') B335 $16.50

REVERIE for clarinet, viola and piano by Howard Buss. This enchanting work was composed for Luis Rossi and the Trio de Buenos Aires. (W'h')

B335 $16.50 SUITE TIME for flute, clarinet and bassoon by Zack Browning in 4 entertaining

movements: Imaginary Time, Real Time, Easy Time, and Hard Time. (11') B204 $16.50

To order send a check or money order to the address below, add $3.50 for shipping in the U.S. & Canada; Foreign orders: Send payment in U.S. funds, add $6.00 for surface mail or $12.00 for airmail. FREE CATALOG (including more clarinet chamber music) ON REQUEST

Bp Brixton Publications Fax: 941 /646-0961 4311 Braemar Avenue • Lakeland, FL 33813 U.S.A.


NEW '"Excettente"

Clarinet {Mbutft-Tiecc

with a change in core-bore and shape

of personal growth. Among her many extra- musical achievements, she became a pub¬ lished poet during her tenure with the Utah Symphony. Whenever the challenge of a new skill beckoned — whether it was clas¬ sical guitar, ballroom dancing, tennis or public speaking at the Toastmasters'— she responded with dedication. Christie was not only a wonderful colleague, but truly an altruistic and positive human being, who cared deeply for all of us, and because of this used her superb gift of communication to endeavor to make the world a kinder, gentler place for everyone.

Christie's clarinet has been quieted now, but her memory and the echoes of her beau¬ tiful music will continue to enrich our lives by lingering in our minds and re¬ sounding in our hearts. (Reprinted with the kind permission of Erich Graf and the Utah Symphony. Ed.)

The Utah Symphony will endow the principal clarinet chair in her name, and contributions can be made to the Utah Symphony, 123 W. South Temple, Salt Lake City, UT 84101 for the memorial fund.

Ignatius Gennusa former principal clarinet

Baltimore, Chicago, National, NBC Symphony Orchestras. Student of Daniel Bonade.

This new Bb clarinet mouthpiece combines tradition, professional experience and years of experiments with new technology. It is the most accurate mouthpiece produced anywhere in the world. The "'Exce&ente" Cfarinet OUbutfi-rPiece has been designed to give both the professional artist and the student comfort, ease of playing, beauty of tone and clean staccato attack.

Innovative features are: • Pivot point which rolls evenly toward

the tip. • Tapered bore to give the professional

clarinetist intonation that is superior throughout the registers.

• Soft rubber blend which produces a "cushioned" tone.

• Facing which accepts easily the stan¬ dard, professional reed.

Price—$75.00 each Check with order

CONTACT: Ignatius Gennusa 9800 Coastal Highway 1409 Plaza Ocean City, MD 21842 Phone/Fax (410) 524-5887

Custom Work by Appointment NEW FEATURE — ' 'Deep Hollow Dark'' Tone

Clarinet

Accessories

" When details make

the difference. "

—

Clarinet " When details make

Support 'he difference."

Straps —

CLEANING SWAB MOUTHPIECE CUSHIONS

LP = With Leather Pad

- Chamois / Very absorbent / Washable

STANDS

THIN/FIN (0,4 mm) TRANSPARENT* MEDIUM (0,8 mm) BLACK ' THICK/EPAIS (1,0 mm) TRANSPARENT (* Available in 2 sizes : Large / Small)

THUMB REST.

3 angles to grip with S and M supports

Studies M = Marching With Lyre

For the complete BG catalog and a free sample of BG mouthpiece cushions, please contact:

</§

jQ

NORTH AMERICA ROUSSEAU Music Products, Inc. P.O. BOX 651 BLOOMINGTON, IN 47402 Toll Free: (888) ROUSSEAU (768-7732) Fax: (812) 332-2555 e-mail : [email protected]

e;

OVERSEAS Franck BICHON T6I. (33) 04 78 56 86 00 Fax (33) 04 78 56 57 78 http://www.musicindustr)r.com/bg/ e-mail : [email protected]

STANDARD FOR ALL CLARINETS - Allows a more natural right hand position, - keeps the mouthpiece in position ■ New: also available with elastic version - The elastic absorbs the weight thus preventing hand and shoulder problems. For the complete BG catalog and a free sample of BG mouthpiece cushions, please contact:

OVERSEAS Franck BICHON T6I. (33) 04 78 56 86 00 Fax (33) 04 78 56 57 78

France http://www.musicindustry.com/bg/ e-mail : [email protected]

NORTH AMERICA ROUSSEAU Music Products, Inc. P.O. BOX 651 BLOOMINGTON, IN 47402 Toll Free: (888) ROUSSEAU (768-7732) Fax: (812) 332-2555 e-mail : [email protected]

w

July /August 1998 Page 23

Medical Problems of Clarinetists:

g©(I§ H© (UJoTo Rfl®

o o

0@

by Michael Thrasher and

Kris S. Che sky

Information about musicians and mu¬ sic teachers is important for curricular and educational decision making. For

example, understanding the medical prob¬ lems of musicians plays an important role in developing health-conscious pedagogy and effective clinical interventions. Un¬ fortunately, current information only in¬ cludes a few surveys of full-time orches¬ tra professionals, university and public school students and clinical case reviews. Furthermore, these studies will typically group musicians into broad categories, such as woodwinds, strings or brass, and provide little insight to instrument spe¬ cific problems.

There are unique demands associated with playing the clarinet. When address¬ ing medical issues in the pedagogical liter¬ ature, authors assert that health risks to clarinetists include musculoskeletal prob¬ lems of the hands, wrists, forearms and shoulders, and problems with hearing and the embouchure. There is little agreement, however, regarding what problems are common or serious. For instance, Mazzeo (1989) suggested that nearly all problems of clarinetists are associated with the em¬ bouchure and the right hand thumb. Wil¬ son (1990), however, cited thumb prob¬ lems but added that the only other problem is danger to hearing.

The research literature includes sur¬ veys of professional musicians or students but typically describes medical concerns without differentiation by specific instru¬ ment type. For example, 71 % of woodwind players have reported musculoskeletal prob¬ lems in a study of 660 professional or¬ chestral musicians (Larsson, Baum, Med- holkar & Kollia, 1993). Similarly, in a study of college music students, the wood¬ wind players reported frequent pain in the wrists, fingers, back and neck (Pratt, Jes- sop, & Nieman, 1992). Fry and Rowley (1989) suggested that cello, clarinet, and flute musicians report upper limb pain more often compared to other instrumen¬ talists. Overall, these findings are limited

because the unique and varied demands associated with each instrument type can¬ not be accounted for. Fry (1988) highlight¬ ed these contrasts by citing soft palate dam¬ age caused by the high-pressure demands of oboe performance, shoulder problems related to flute performance, and specific right hand problems associated with sup¬ porting a clarinet or English horn. Based on clinical observations, Fry (1988) noted that among 69 professional clarinetists affected by over-use syndrome, 52% reported prob¬ lems related to the right hand and/or wrist, as well as a high frequency of problems related to the forearm and shoulder. Only two subjects reported problems related to the embouchure. Another report suggested a correlation between TMJ dysfunction and the physical stress levels associated with the clarinet (Betz, 1989); however, Bejani (1996) suggested performers of upper strings and some brass instruments experi¬ ence TMJ syndrome most often.

Fishbein and associates (1988) noted the need for research that considers a vari¬ ety of interdependent variables and recog¬ nized the relationships between overall health, lifestyle and medical problems. Fur¬ thermore, Mazzeo (1989) acknowledged that symphony and opera clarinetists rep¬ resent only a small percentage of the total number of active clarinet players, and sug¬ gested the need for more information re¬ garding all clarinetists.

To overcome the difficulty of accessing and surveying musicians, a unique ap¬ proach was developed at the University of North Texas that utilizes the World Wide Web. Following successful pilot studies and research funding from the National Academy of Recording Arts and Sciences, the UNT Musician Health Survey (UNT- MHS) has developed into a viable platform for obtaining information from musicians across the nation and from around the world. To date, over 2,000 musicians have participated in the project. This report is the first to describe data from a heteroge¬ neous sample of musicians who play the same instrument. The purpose of this study is to describe medical problems of clari¬

netists by examining the data collected through the UNT-MHS.

Method

A non-probability method for creat¬ ing an accidental sample population was achieved by recruiting subjects through the World Wide Web (WWW). The main advantage of this process is the ability to find and recruit musicians from diverse locations and musical backgrounds. Alter¬ natively, a major limitation is the inability to know what specific attributes are pre¬ sent in those who offer themselves as sub¬ jects via the WWW. The authors recog¬ nize that those who volunteer to take the survey may be atypical of the target pop¬ ulation of all musicians in terms of such characteristics as socioeconomic status, motivation and other correlates of health consciousness.

Following approval by the UNT In¬ stitutional Review Board, subjects were recruited through messages posted to In¬ ternet links, Internet discussion groups, professional publications, and professional societies and organizations. Subjects were directed to access the survey via the web at: http://www.scs.unt.edu/surveys/msurvey/ index.html. Once logged on, standardized instructions prompted subjects through various sections of the survey. Subject par¬ ticipation is considered anonymous. At the end of the survey, subjects were al¬ lowed to submit comments with their re¬ sponses. Data files received over the In¬ ternet were downloaded into a master file for periodic preliminary inspection. This step allowed for identification of bogus, duplicate, or faulty data. Following screen¬ ing procedures, data were merged into a master SPSS file.

The UNT-MHS is divided into five sec¬ tions and asks questions regarding: 1) demographics; 2) musculoskeletal prob¬ lems; 3) non-musculoskeletal problems; 4) lifestyle and environment; and 5) feedback and comments (Corns, Edmonds, & Wil¬ son, 1996). The development of the UNT- MHS allows for direct comparison of data to other well-known musician health sur¬ veys. The musculoskeletal section seeks


information on 16 bilateral body locations. Also, similar to the ICSOM study (Fish- bein, et.al., 1988), the non-musculoskeletal section asks questions regarding incidence and severity of several possible problems. Questions regarding pain severity utilize a modified five-point graded severity score developed by Fry (1988) that incorporates a measure of functionality and problem dura¬ tion. The scale is as follows:

Grade 1: Pain while playing; should be consistent rather than occasional; pain ceases when not playing.

Grade 2: Pain while playing; slight physi¬ cal signs of tenderness; may have tran¬ sient weakness or loss of control; no interference with other uses of this location.

Grade 3: Pain while playing; pain persists away from instrument; some other uses of this location cause pain; may have weakness, loss of control; loss of mus¬ cular response or dexterity.

Grade 4: As for Grade 3; all common uses of the location cause pain (housework, driving, writing, turning knobs, dress¬ ing, washing, etc.) but these are possi¬ ble as long as pain is tolerated.

Grade 5: As for Grade 4; including loss of use of location due to disabling pain.

Results

Extracted from the UNT-MHS master database, 324 subjects (N = 324; females = 155, males = 169) were selected for this analysis. Subjects were included if they indicated clarinet as their primary (most- played), secondary (second most-played), or tertiary (third most-played) instrument. Subjects' mean age was 34.75 years (S.D. = 14.83; range = 12 to 77 yrs.). The sub¬ jects averaged 4 years (S.D. = 3.19; range = 0 to 16 yrs.) of formal college music instruction and an average 11.25 years of professional musical activity (S.D. = 12.73; range = 0 to 53 yrs.). Subjects' average annual salary was $34,974.54. Questions pertaining to lifestyle indicated that subjects traveled away from home ap¬ proximately three days each month (S.D. = 4.14), and exercised about three and a half hours per week (S.D. = 2.96). Half (50%) indicated that they followed a com¬ bination diet consisting of well-balanced, vegetarian, and fast food/restaurant. Thirty- four percent identified their diet as well-

balanced, 5.7% reported vegetarian, and 9.2% reported fast food/restaurant. Subjects described their work environ¬ ments as moderately stressful (63%), highly stressful (13.2%) or little to- no-stress (23.8%).

The survey determined rates of oc¬ currence for non-musculoskeletal prob¬ lems. For each problem, the subjects' choices included no problem, mild problem or severe problem. Table 1 (right) shows the percentages of sub¬ jects reporting non-musculoskeletal problems. The most common prob¬ lems included eyestrain, headaches and fatigue, followed by stage fright, weight problems and depression. More than 40 percent of females reported a mild or severe problem with eyestrain, headache, fatigue or stage fright. Over 20 percent of females reported severe problems with headaches. The percent¬ ages of females reporting problems were typically higher compared to males; however, more males reported problems with hearing loss and ac¬ quired dental malocclusion compared to females.

Subjects reported several upper- extremity musculoskeletal problems. Table 2 (next page) shows the percent¬ ages of subjects reporting problems with various bilateral locations. Specific locations on the right side of the body were identified as leading problem areas. Most notably, over 30 percent reported right wrist or finger problems. Similar to non-musculoskeletal prob¬ lems, females reported musculoskeletal problems at a higher rate compared to males. For instance, over 40 percent of females reported problems with right fingers or hand compared to less than 20 percent of males. Similarly, over 50 percent of females reported problems with right wrist compared to only 25 percent of males. Subjects described the severity of their problems using the modified five-point grading scale devel¬ oped by Fry (1988). Over 10 percent of females reported problems at grade 3 or higher for right wrist, fingers and hand. This means that they experience pain while play¬ ing, the pain persists away from the instru¬ ment, other uses cause pain, and they may have weakness, loss of control and loss of muscular response or dexterity.

Table 1. Frequency of Reported

Non-Musculoskeletal Problems Gender

Problem Male Female Total Eyestrain 34.6% 49.0% 43.5%

mild 32.7% 44.5% 38.3% severe 1.8% 4.5% 3.1%

Headache 28.7% 58.8% 43.0% mild 21.1% 36.8% 28.5%

severe 7.6% 21.9% 14.4% Fatigue 35.7% 49.7% 42.4%

mild 32.2% 36.8% 34.4% severe 3.5% 12.9% 8.0%

Stage Fright 25.8% 43.3% 34.1% mild 24.0% 34.8% 29.1%

severe 1.8% 8.4% 4.9% Weight Problems 23.4% 36.8% 30.0%

mild 19.3% 24.5% 21.8% severe 4.1% 12.3% 8.0%

Depression 24.0% 31.0% 27.6% mild 15.2% 22.6% 18.7%

severe 8.8% 8.4% 8.6% Sleep Disturbance 22.2% 29.1% 25.0%

mild 19.3% 23.9% 21.5% severe 2.9% 5.2% 4.0%

Respir. Allergies 21.1% 22.6% 21.8% mild 14.6% 14.8% 14.7%

severe 6.4% 7.7% 7.1% Acute Anxiety 19.3% 23.3% 21.2%

mild 18.1% 18.1% 18.1% severe 1.2% 5.2% 3.1%

Blackouts/Dizzy 12.9% 17.1% 20.0% mild 12.3% 26.5% 19.0%

severe .6% .6% .6% Hearing Loss 23.4% 15.5% 20.0%

mild 21.6% 14.8% 18.4% severe 1.8% .6% 1.2%

Asthma 13.5% 20.7% 17.0% mild 9.9% 17.4% 13.5%

severe 3.5% 3.2% 3.4% Mouth Lesions 15.8% 16.8% 16.3%

mild 14.6% 14.8% 14.7% severe 1.2% 1.9% 1.5%

Earaches 9.9% 21.9% 15.7% mild 7.0% 17.4% 12.0%

severe 2.9% 4.5% 3.7% Chest Discomfort 14.1% 16.8% 15.5%

mild 13.5% 14.2% 13.8% severe .6% 2.6% 1.5%

TMJ Syndrome 6.4% 23.2% 14.5% mild 5.8% 18.7% 12.0%

severe .6% 4.5% 2.5% Acquired Dental Malocclusion 17.5% 9.7% 14.1%

mild 15.8% 7.1% 11.7% severe 1.8% 2.6% 2.1%

Loss of Seal 10.0% 15.5% 12.1% mild 8.2% 12.9% 10.4%

severe 1.8% 2.6% 2.1%

Discussion

The most common non-musculoskeletal problems reported by clarinetists included headache, fatigue and eyestrain. The rates of occurrence, as well as the severity levels, for these problems were higher among females


Table 2. Frequency of Reported Upper-Extremity

Musculoskeletal Problems

Left Side Gender Male Female Total

Finger 15.3% 25.9% 20.0% grade 1 9.9% 12.9% 11.3% grade 2 1.2% 6.5% 3.7% grade 3 2.9% 5.2% 4.0% grade 4 .0% .6% .3% grade 5 1.2% .6% .9%

Hand 14.6% 25.2% 20.0% grade 1 7.6% 13.5% 10.4% grade 2 1.8% 4.5% 3.1% grade 3 4.1% 3.2% 3.7% grade 4 .6% 3.2% 1.8% grade 5 .6% .6% .6%

Wrist 14.6% 26.5% 20.0% grade 1 7.0% 10.3% 8.6% grade 2 3.5% 4.5% 4.0% grade 3 2.9% 5.2% 4.0% grade 4 1.2% 5.2% 3.1% grade 5 .0% 1.3% .6%

Forearm 5.9% 16.8% 11.1% grade 1 4.1% 6.5% 5.2% grade 2 .0% 4.5% 2.1% grade 3 1.8% 5.2% 3.4% grade 4 .0% .6% .3%

Elbow 5.3% 7.1 % 6.0% grade 1 2.3% 3.2% 2.8% grade 2 .0% .6% .3% grade 3 .6% 2.6% 1.5% grade 4 2.3% .0% 1.2% grade 5 .0% .6% .3%

Shoulder 15.8% 24.6% 20.0% grade 1 9.4% 11.0% 10.1% grade 2 2.9% 5.8% 4.3% grade 3 2.3% 5.8% 4.0% grade 4 1.2% 1.9% 1.5%

Neck 15.3% 26.5% 21.0% grade 1 7.6% 9.7% 8.6% grade 2 2.3% 7.7% 4.9% grade 3 4.7% 4.5% 4.6% grade 4 .6% 4.5% 2.5%

Upper Back 5.9% 20.7% 13.0% grade 1 2.3% 8.4% 5.2% grade 2 1.8% 6.5% 4.0% grade 3 1.8% 4.5% 3.1% grade 4 .0% .6% .3% grade 5 .0% .6% .3%

compared to males. These problems have been identified in other studies, but to a les¬ ser degree. Shoup (1995), for instance, found that eyestrain (15.8%) and severe headaches (14.8%) were the two leading non-musculoskeletal problems reported by 425 junior high- and high school-aged instrumental music students. The higher rates of occur¬ rence found in the present study may be associated with several factors including clarinet-specific demands or differences in age and years of performing experience.

Right Side Gender Male Female Total

Finger 19.9% 42.0% 30.0% grade 1 14.0% 16.8% 15.3% grade 2 2.9% 12.9% 7.7% grade 3 2.3% 10.3% 6.1% grade 4 .0% 1.3% .6% grade 5 .6% .6% .6%

Hand 17.5% 42.0% 29.0% grade 1 7.0% 16.1% 11.3% grade 2 7.6% 9.7% 8.6% grade 3 1.8% 11.0% 6.1% grade 4 .6% 3.9% 2.1% grade 5 .6% 1.3% .9%

Wrist 25.0% 51.4% 37.2% grade 1 12.3% 17.4% 14.7% grade 2 5.3% 11.0% 8.0% grade 3 6.4% 11.6% 8.9% grade 4 1.2% 9.7% 5.2% grade 5 .0% .6% .3%

Forearm 17.6% 30.4% 23.0% grade 1 5.8% 9.0% 7.4% grade 2 5.3% 8.4% 6.7% grade 3 4.1% 8.4% 6.1% grade 4 1.8% 3.9% 2.8% grade 5 .6% .6% .6%

Elbow 6.5% 15.5% 10.5% grade 1 2.9% 5.2% 4.0% grade 2 2.3% 2.6% 2.5% grade 3 1.2% 4.5% 2.8% grade 4 .0% 2.6% 1.2%

Shoulder 15.8% 25.2% 20.0% grade 1 5.8% 7.1% 6.4% grade 2 5.8% 5.2% 5.5% grade 3 2.3% 6.5% 4.3% grade 4 1.8% 5.8% 3.7%

Neck 18.7% 30.4% 24.3% grade 1 8.8% 7.7% 8.3% grade 2 4.1% 8.4% 6.1% grade 3 4.1% 6.5% 5.2% grade 4 1.8% 7.1% 4.3%

Upper Back 10.6% 27.1% 18.5% grade 1 6.4% 10.3% 8.3% grade 2 2.3% 7.1% 4.6% grade 3 1.8% 5.2% 3.4% grade 4 .0% 3.2% 1.5% grade 5 .0% 1.3% .6%

The musculoskeletal problems reported on the right side of the body may be associ¬ ated with clarinet-specific demands placed on the right wrist. Approximately 40 per¬ cent of the clarinetists reported a problem in this area. Whereas the right hand and fingers were reported as problem sites, subjects specifically identified the right wrist more often than any other site. These findings agree with previously published reports. In Manchester's (1988) study of 132 university-level music students,

woodwind players reported more right- than left-side symptoms.

Females reported higher rates of occur¬ rence for musculoskeletal problems com¬ pared to males. In all categories in which more than ten percent of the total popula¬ tion reported a problem, rates of occur¬ rence among females were higher than males. These finding are consistent with previous reports. For instance, Zaza (1992) calculated that gender was the best predic¬ tor of injury in 300 university instrumental music students. Furthermore, in a study of secondary school-aged musicians. Lock- wood (1988) reported that 68 percent of females identified problems compared to only 17 percent of males.

In summary, findings for this study should be interpreted with caution. Gen¬ eralizations to the total population of clar¬ inetists cannot be made due to the acciden¬ tal sampling procedures used. The lack of randomization and the reliance on Internet- based collection procedures introduce un¬ known factors that may not be accounted for in this analysis. Future research will continue to refine and determine the utility of Internet-based survey techniques. Re¬ gardless of its limitations, this study con¬ firms the need for further investigation re¬ garding the medical problems of clarinet¬ ists. The identification of headaches, eyestrain and fatigue raises concerns that have not appeared in the clarinet literature. Fur¬ thermore, findings strongly support the previously voiced concerns related to the right wrist, fingers and hand. The dramatic contrasts between male and female musi¬ cians also warrants further investigation.

This study suggests several trends that demand attention from today's clarinet players, teachers and designers. First, those charged with the instruction of the next generation of clarinetists must recognize the magnitude and danger of the above- mentioned problems. The problem of clar¬ inet-related medical conditions is not a myth. Unfortunately, many choose to dis¬ miss physical pain or even encourage pain as a natural part of performance. For exam¬ ple, Shoup (1995) found that 44 percent of high school musicians believed in playing through pain, adhering to a "no pain, no gain" philosophy. Newmark and Hochberg (1987) reported that almost 7 percent of musicians suffering from pain actually chose to increase their playing schedules as a form of treatment, assuming that pain


resulted from insufficient practice. Second, players must develop an open-minded approach when considering new and inno¬ vative ideas about clarinet pedagogy, play¬ ing technique and instrument design. As early as 1987, Fry suggested that professors of clarinet critically review the traditional loading of the clarinet on the right thumb. Furthermore, writers such as Farmer (1979) and Mazzeo (1989) have described alterna¬ tive means of supporting the weight of the instrument. Third, players should actively encourage instrument designers and manu¬ facturers to develop a responsible and sen¬ sitive approach to clarinet design. Finally, the community of experienced clarinet play¬ ers must take the lead on these issues. Through the development of trained artist- scholars with the prerequisite skills as per¬ formers, inquirers, and problem-solvers, significant contributions can be made to the overall understanding of the various aspects of clarinet performance. The authors pro¬ pose to continue such endeavors through the University of North Texas Musician Health Survey and other tools with the intention of helping all to gain greater insight into the art of playing the clarinet.

This research is sponsored in part through a grant from the National Academy of Recording Arts and Sciences. Special thanks to Steve Corns for assistance in data management. Correspondence regarding musicians' health issues and any future re¬ search is encouraged by the authors, and may be addressed via email to Dr. Thrasher at thrasher® wfnet or to Dr. Chesky at kch- esky @ music, unt. edu

References... Bejjani, F.J., Kaye, G.M. & Benham, M. (1996).

Musculoskeletal and neuromuscular conditions of instrumental musicians. Archives of Physical Medi¬ cine and Rehabilitation, 77(4), 406-413.

Betz, S. (1989). "Are you a victim of T.M.J. dys¬ function?" The Clarinet, 16(2), ^^■■■'17.

Corns, J.S., Edmund, D. & Wilson, S. (1996). World Wide Web research in performing arts medi¬ cine: The University of North Texas Musician Health Survey. In K.S. Chesky, K.S. and B. Rubin (Eds.), Applications of Medicine in Music (pp. 13-18), Uni¬ versity of North Texas.

Farmer, G.J. (1979). "Use of the clarinet neckstrap." Woodwind World-Brass and Percussion June 1979, 8-9.

Fishbein, M., Middlestadt, S.E., Ottati, V., Straus, S. & Ellis, A. (1988). "Medical problems among ICSOM musicians: Overview of a national survey." Medical Problems of Performing Artists, 3, 1-8.

Fry, H.J.H. (1987). "Overuse syndrome in clar¬ inetists." The Clarinet, 14(3), 48-50.

Fry, H.J.H. (1988). "Patterns of over-use seen in 658 affected instrumental musicians." International Journal of Music Education, 11, 3-16.

Fry, H.J.H. & Rowley, G.L. (1989). "Music re¬ lated upper limb pain in school children." Annals of Rheumatic Diseases, 48 (12), 998-1002.

Larsson, L., Baum, J., Mudholkar, G.S. & Kol- lia, G.D. (1993). "Nature and impact of musculo¬ skeletal problems in a population of musicians." Medical Problems of Performing Artists, 8, 73-76.

Lockwood, A.H. (1988). "Medical problems in secondary school-aged musicians." Medical Prob¬ lems of Performing Artists 3(4), 129-132.

Mazzeo, R. (1989). "Mazzeo musings." The Clar¬ inet, 16(2), 7-9.

Manchester, R.A. (1988). "The incidence of hand problems in music students" Medical Problems of Performing Artists 3(1), 15-18.

Newmark, J. and Hochberg, F.H. (1987). " 'Doc¬ tor, it hurts when I play': painful disorders among instrumental musicians." Medical Problems of Per¬ forming Artists 2(3), 93-97.

Pratt, R.R., Jessop, S.G. & Niemann, B.K. (1992). "Performance-related disorders among mu¬ sic majors at Brigham Young University." Interna¬ tional Journal of Arts Medicine, 1(2), 7-20.

Shoup, D. (1995). "Survey of performance-re¬ lated problems among high school and junior high school musicians." Medical Problems of Performing Artists 10(3), 100-105.

Wilson, H.L. (1990). "Hearing loss and the clar¬ inet." The Clarinet, 18 (1), 22-25.

About the Writers...

Clarinetist Michael Thrasher has held teaching positions with many prominent music programs, including Lewisville (TX) High School, Richardson (TX) J.J. Pearce High School, the Denton (TX) Indepen¬ dent School District, the Louisiana School for Math, Science and the Arts, and the University of North Texas. He currently serves as Instructor of Woodwinds for the Bridgeport (TX) Independent School Dis¬ trict and is a Research Associate at the Uni¬ versity of North Texas. Thrasher has per¬ formed with the Shreveport Symphony Orchestra since 1996, and has also played with the University of North Texas Cham¬ ber and Symphony Orchestras, and with the Texas Music Festival Orchestra. He has done research projects and scholarly pre¬ sentations for the Texas Music Educators Association, the Music Educators National Conference, and the International Clarinet Association. Thrasher holds the Bachelor of Music Education degree from North¬ western State University of Louisiana, the Master of Music degree in clarinet from the University of North Texas, and the Doctor

of Musical Arts degree in clarinet and musi- cology from the University of North Texas. His major clarinet teachers include James Gillespie, Bruce Bullock and John Scott.

Kris Chesky, Ph.D. holds a joint ap¬ pointment at the University of North Texas as Assistant Professor in Division of Music Education and the Department of Medi¬ cine. Dr. Chesky has over 20 years of expe¬ rience as a professional trumpet player. He is an elected member of the Commission for Music Therapy, Music Medicine and Music in Special Education of the Inter¬ national Society for Music Education, guest co-editor of a special issue of Music Perfor¬ mance Journal and co-editor of Medicine in Music. He has had scientific articles in Music Therapy Perspectives Journal, Alter¬ native Therapies in Clinical Practice, Arts in Psychotherapy Journal, Journal of Mus¬ culoskeletal Pain, Music Medicine Vol. II, Music Therapy in Pediatric Pain and Med¬ ical Problems of Performing Artists Jour¬ nal. He has lectured in England, Canada, Spain, Germany, France, the Netherlands, and throughout the United States. Chesky's areas of interest include music perfor¬ mance, music education, music therapy, music medicine, performing arts medicine and interdisciplinary research. Chesky has developed conceptual models and tech¬ nologies for medical and scientific applica¬ tions of music vibration, and he holds a U.S. patent for the development of music vibration technology, which is now being used in pediatric medical settings for relief from pain associated with major surgery.

JAZZ COLUMNIST NEEDED The Clarinet is currently seeking someone to cover the jazz clarinet scene. The position's responsibil¬ ities include writing two jazz clarinet-related arti¬ cles each year and reviewing jazz recordings. Appli¬ cants should have a special interest in and knowl¬ edge of jazz and jazz clarinetists, be able to write well and meet deadlines.

Interested applicants should send a brief resume emphasizing the jazz aspect of their qualifications to:

James Gillespie, Editor The Clarinet

College of Music, University of North Texas Denton, Texas 76203-1367

Fax: 940/565-2002 e-mail: <[email protected]>


DjjiJjuxiiu J-* Jj u JJ xj fid LI'JJ

iiJi jj (J, LiJJ CDlJ

i/i

Z7_y Mark Sellen

Instrumental tone is very much a per¬ sonal matter — each individual hav¬ ing, to a greater or lesser extent, his/

her own idea on the ideal tone or the tone which any particular individual may seek to produce. There are, however, two fun¬ damental factors which govern the resul¬ tant tone produced. The first is the imagi¬ nation and the second is the necessary knowledge to enable the production of op¬ timum tone and its control. Both factors must be present, for without the imagina¬ tion of the tone the player has nothing from which to work and nothing towards which he may successfully work; without the second factor only a tone quality infe¬ rior to that which would optimally be pro¬ duced would at best result.

The production and control of tone de¬ pends on yet a further set of factors: the instrument itself and its mechanical and acoustical condition, the mouthpiece and its suitability to a particular individual, the reed and its suitability to the mouthpiece, the embouchure, control of the breathing apparatus and resonation. The scope of this

d) L '

^ IhldVtACtJ oWli

§

article is to deal with the breath¬ ing apparatus, its control, and the identification and control of res¬ onators in the optimum produc¬ tion and control of clarinet tone.

It is well worth considering that musical instruments are played by human beings, and that it is es¬ sential that ordinary, normal bod¬ ily functions be maintained while playing is in progress. It is critical that the exchange of gases in the bloodstream be allowed to occur unimpeded, and therefore that suf¬ ficient air be inspired, and expired most efficiently and effectively. The control of respiration is vital, both to tone production and to the continuation of life.

At rest the breathing apparatus appears to take care of itself unconsciously. When applying oneself to wind instrument play¬ ing, it is important that the supply and man¬ agement of air serve both the bodily func¬ tions and those of the wind instrument.

Standing erect, while also maintaining a relaxed posture, will allow for movement of the ribs — within the parameters permit¬ ted — and thus the enlargement of the tho¬ rax (see Figure 1). As the upper ribs move

outwards slightly and the lower ribs expanded simi¬ larly, the result is an increase in thoracic capacity from behind, for¬ wards and from side to side. The descent of the dia¬ phragm leads to an increase in the vertical dimen¬ sion of the tho¬ rax, while it also has a bearing on the elevation of the lower ribs. This is all being controlled by the nerve cells in the

avtkm

FIGURE 1

K qm'i CeA^lY"<vA

V6

FIGURE 2

central nervous system — a marvellous mechanism which ensures coordination here. Enlargement of the thorax results in optimum expansion of the lungs and, there¬ fore, an increase in the quantity of air able to enter and leave the bloodstream.

The muscles of respiration fall natu¬ rally into two groups. The first is that of inspiration, and as such is concerned with the enlargement of the thorax, while the second group is concerned with expiration, and, therefore, a reduction in thoracic ca¬ pacity. The diaphragm is the most signifi¬ cant muscle of inspiration. Its lower edge bounds the entire circumference of the chest, and as such separates the cavities of the thorax and abdomen. Contraction of the diaphragm results in descent of its cen¬ tral mass (its arching tendon) and an en¬ largement of the thorax, as outlined above. The descending diaphragm pushes down¬ wards and forwards on the upper abdomen. It is important to concentrate on the raising of the lower ribs, and on increasing flexi¬ bility here, the descent of the diaphragm and the resultant tensing of the abdominal muscles, rather than on expansion of the upper chest — as this alone has the effect of reducing the volume of air inspired as a result of the limited role enforced upon the muscles of the lower chest. It should be re¬ membered that concentration on expansion of the upper chest over and above that on the other inspiratory muscles will result in no effective control over expiration. Inspir¬ ation, then, can be viewed as the enlarge-


ment of thoracic capacity as the diaphragm descends, resulting in tension being set on the abdominal muscles to the point where both sets of muscles are held in balance at the furthest point of inspiration. The level of tension existing between these muscles is generally referred to as "support."

At this point, greatest concern should be directed towards the abdominal mus¬ cles themselves, being the most important muscles of expiration. The diaphragm has no muscles capable of raising itself, its as¬ cent therefore is as a result of its own na¬ tural relaxation. The wind instrumentalist aware of this seeks to gain maximum con¬ trol over its ascent by management of the abdominal muscles.

The four sets of muscles (see Figure 2), providing a wall and extending from the ribs to the region of the pubic crest, and which encircle the trunk of the torso by hav¬ ing their attachments to the spine, serve the function of protecting the organs con¬ tained therein and the abdomen itself. As the muscles contract, the rise in intra-abdominal pressure — feeling the muscles "tucking in" while maintaining expansion of the lower ribs — forces the diaphragm, under control, to rise, and as a result the thoracic capacity is reduced, promoting ex¬ piration. Tension of the abdominal mus¬ cles must be marked, and control over this is essential in the management of breath volume and pressure — each of which af¬ fects pitch, tone quality and dynamic level.

The supported air column having left the lungs enters the mouth, via the trachea and throat, where it meets the initiator, the mouthpiece and reed. The resulting sound is then subject to resonation in the body of the player and also within the body of the

FIGURE 4 CirjuS CttvniC.c,

(itliVAOisal j ((YW^.11 Wrj

QlZfcL - PHrt+Wfi*

hfcsal CCUihj

h&stal

(tyn oOtK

oir<* I Gow iKjJ

cwiiHvxj

instrument itself. The tone quality at this point depends upon certain physical char¬ acteristics of the individual player and also upon effective management of resonating systems within the head of the player.

The size and shape of the mouth itself, which encloses the generator, are vital in their contribution to tone quality. The mandible and maxilla are independent of one another (see Figure 3), to the extent that the maxilla is a fixed part of the skull, and as such is not moved when the mouth is opened and closed. This is a function of the mandible, where it articulates with the maxilla at the temporo-mandibular joint. In effect, a hinge where the mandible can be swung up and closed or down and open.

Keeping the mandible down and feeling a light, but con¬ trolled, support of the reed by the lower lip will help to prevent biting. It is here that op¬ timum placement of the reed on the lower lip is as vi¬ tal as is the for¬ mation of those muscles and their action on the lo¬ wer lip. The mus-

FIGURE 3

Max.ifU

cles controlling the lower lip should act so as to create a "bunching" of the flesh to¬ wards the center of the lower lip; this will help to achieve the maximum degree of control over the spring of the reed. The jaw swung downwards and forwards en¬ larges the cavity of the mouth — this can be successfully achieved before the lips are parted. With the mandible relaxed in this manner, and acting in conjunction with the lower lip, one can work towards achieving maximum amplitude of the reed in generation. By considering such physi¬ ological conditions it is easier to gain full amplitude of the vibrating reed and this results in generation of the clarinet tone being more efficiently and more effectively obtained and controlled.

When the tongue is held forward, in order to achieve a close proximity with the reed tip edge, and this allowing only the tip to twitch, the oral pharynx is en¬ larged — this prevents restriction of the air column at this point (see Figure 4). For¬ ward of the oral pharynx and above the tongue is the palate. The anterior two-thirds or so is of a bony consistency and pro¬ vides a division between the mouth and the nasal cavity. This "hard palate" is con¬ tinuous with the posterior third, known as the "soft palate," and which is of a fibro- muscular consistency and provides con¬ tinuation of the floor of the nasal cavity and also extends downwards, towards the


throat, to provide the floor to the naso¬ pharynx. This particular opening — the pharyngeal isthmus — is of vital impor¬ tance to the wind musician. Control of the openings and surfaces here leads to pro¬ found effects upon tonal quality, presence and projection.

The pharyngeal isthmus may be closed by raising the soft palate and bringing this into contact with the posterior wall of the pharynx — as is the case when swallow¬ ing — and is opened by lowering the soft palate — to allow the passage of air. With the lips closed and the mandible swung down and forward, the mouth already at¬ tains larger proportions, but in addition to this, if the soft palate is now raised — not to the point of contact with the posterior wall of the pharynx — and arched, as in a yawn, then an "opening up" is experi¬ enced. This sensation, as if perhaps one has a hot object in one's mouth, leads to an opening up to the cavities in the head.

Rose states that the voice is unique in having several resonance cavities reinforc¬ ing the same note simultaneously. Players of wind instruments do have these same

resonance cavities at their disposal for use in resonating the sounds produced — this is certainly true with players of intra-oral wind instruments. With the air column un¬ der pressure in the mouth, at the initiator, vibrations are produced and the buoyancy and intensity of the tone are affected by the addition to the equation, at this point, of head resonances.

As the throat is opened its walls — and also the fabric of the soft palate — become, under tension, less soft. Their increased firmness reduces their damping qualities leading to increased vibrancy. Keeping the mandible down results in the head of the mandible — positioned closely to the bony part of the external ear — rotating where it articulates with the temporal bone. Conduc¬ tion of vibrations is noticeably enhanced once a certain position, on the arc, has been reached. Concentrating on the relaxed low¬ ered mandible and the relaxed but con¬ trolled "bunching" of the lower lip point the mouth comers upwards towards the eyes. This slight but positive movement leads to considerable focusing on the tonal center which is immediately audible to the player.

The core of tone if located on any one note on the instrument can be located on all others. Playing to the core of the tone will lead to a unification of qualities throughout the range of the instrument. Having identi¬ fied the core the tone can be filled by nour¬ ishment from the air column. Letting the tone up into the head and with the mandible down feel that the tone is "flipped" up into the head; tonal quality and placement take on a new sense. The sensation will indeed be one of tone placed in the front of the upper head, and this can be developed to the point where one feels the tone occurring outside the head — in front or above. This sensation (head tone) is the point at which production is dealt with by the uncon¬ scious. The instrument appears to take little conscious effort to speak. The conscious mind is now in the position of being able to concern itself with the music.

This forward placement and projection of the tone presents a more accurate aural picture of the emanating tone as heard by an external listener; the wedding of notes and registers is much easier and more even throughout, and the tone is projected above and beyond — rather than being lost some¬ where between the instrument and the play¬ er's body. One can imagine the sound cir¬ culating in the cavities of the upper head — the sinus and nasal cavities are indeed con¬ nected by air channels and are therefore open to the throat and mouth.

Constant analysis of tone will develop one's own tonal awareness. Pushing through and keeping the tone continually moving and "live" are all vital in a musical ap¬ proach to tone. Keeping the embouchure mobile and also keeping the contours of the mouth open to flexibility, where alteration in the dimensions here, along the lines of the formation of vowel shapes, will aid con¬ trol of color. Stein talks of the conscious addition of speed to breath, giving variety and control over tone color, and through its careful application this gives "a beautiful spinning or purling quality which adds richness, momentum and scintillating vital¬ ity to the tone."

By bringing into consideration factors involving complex interrelationships be¬ tween breath, lips, jaws, mouth shape, mouth size and head resonances, one is, in effect, consciously able to control the har¬ monic distribution throughout the tone, and therefore vary and shape the character of the tone, controlling quality and color. This

Clarinet

Mouthpiece

Custom-Designed

Through years of experience in performing, Portnoy has developed

a Mouthpiece used by leading Clarinetists. For uniformity, sound, intonation, and reponse, it is unequalled. All mouthpieces may look alike, but Portnoy has the sensitivity in construction which

makes his the most outstanding.

Facings: BP1 Close • BP02 Personal • BPS Open

Write for Free Illustrated Brochure B. Portnoy Clarinet Accessories

P.O. Box 1066 • Larkspur, CA 94939

Tel: (415) 927-0482 • Fax: (415) 927-1498 Also available through Harris Teller, Inc. and Barclay Music


surely is the aim of all wind musicians, to achieve optimum tonal production, projec¬ tion and control and to have at one's dis¬ posal the widest possible palette of color.

Selected Bibliography 1. Goossens, L. and Roxburgh, E. Oboe. Macdonald

and Jane's, London (1977). 2. Gray, H. Gray's Anatomy. John W. Parker and

Son (1858), edition by PRC, Leicester (1991). 3. Green, J.H. and Silver, P.H.S. An Introduction to

Human Anatomy. Oxford Medical Publication O.U.P. Oxford (1981).

4. Porter, M.M. The Embouchure. Boosey and Hawkes London (1967).

5. Rose, A. The Singer and the Voice. Scholar Press (1962) second edition Faber and Faber London (1971).

6. Stein, K. The Art of Clarinet Playing. Summy- Birchard Music Princeton (1958).

7. Thurston, F.J. Clarinet Technique. O.U.P. (1956) third edition (1977).

About the Writer...

Mark Sellen studied clarinet with Ste¬ phen Waters. He has been active in various areas of performance, and for the past 20 years has given duo recitals with pianist Timothy Miller. He has taught clarinet for 20 years in England, is assistant director of music at St. Edward's School, Oxford, and is a Moderator for the University of Cam¬ bridge Local Examinations Syndicate.

Acknowledgment

The author wishes to acknowledge his gratitude to the late D.J.C. Cunningham, MA, MB, ChB, DSc, former Radcliff Med¬ ical Fellow of University College, Oxford and Lecturer in Physiology at the Univer¬ sity of Oxford, for his help in the prepara¬ tion of this article.

L; Visit the J

International

Clarinet

Association

on the

World Wide Web

www.clarmet.org

3

Maximizing reed performance...

through technology!

THE REED WIZARD, a sophisticated high-tech device which quickly redesigns commercially manufactured reeds to an individual's need. Reeds can be adjusted in a matter of seconds with no guess-work.

Price $300.00

THE REED WIZARD is fantastic!" - Ricardo Morales, Prin. Met. Opera

PerfectaReed, an ingenious device that takes the guesswork out of reed adjustments. Designed to measure the entire area of single reeds. Eliminates "human feel" and the user can reproduce reeds to exact measurements or to new specifications. Price $175.00

"PerfectaReed is great!" -Andrew Simon, Prin. Hong Kong Phil.

******

PERFECT A REED...and BEYOND "...(Ben Armato's) frank presentation of vital knowl¬ edge, coupled with the clear and excellent illustra¬ tions, makes this book a must..." — Clarinet Magazine Price $20.00

the

Opera

Clarinetist

Excerpts from the Operatic ' Literature

, Compiled and Edited Ay Ben Armato

of The Metropolitan Opera House J

PERFECT AGREED

...and BEYOND

A Comprehensive Method for , Reed Adjusting... / and Mone

THE OPERA CLARINETIST These excerpts are reproduced from the original Metropolitan Opera parts and should be in every clarinetist's repertoire. Price $25.00

All prices include postage and handling in U.S. only. NY residents please include local tax.

ORDER TODAY □ THE REED WIZARD $300.00 □ PerfectaReed $175.00

□ The Opera Clarinetist $25.00 □ Perfect A Reed...and Beyond $20.00

THE REED WIZARD/PerfectaReed P.O. BOX 594 • ARDSLEY, NY 10502

Phone/Fax (914) 693-3336


The Clarinetists of the 1 997 & 1998

t

by James Gillespie

Solo clarinetist Matthias Glander stand¬ ing near his seat in the pit.

There is probably no city more closely associated with Richard Wagner than Bavaria's Bayreuth,

and since its founding in 1876, for six weeks every summer the Bayreuther Festspiele has been a mecca for Wagner devotees (see Il¬ lustration No. 4). Wagner's hands-on in¬ volvement and personal design of the Festspielhaus have been well documented. (Oddly enough, the Festspielhaus, which suffered little damage during World War II, is hardly used at all for concerts or perfor¬ mances during the remainder of the year, except for the administrative offices where planning is always underway for the next year's season. There is no full-time, profes¬ sional orchestra in Bayreuth.) Wagner's home in Bayreuth, Wahnfried, which he also designed, was one-third destroyed by bombing raids in 1945. It now houses the Richard Wagner Museum, which is open to the public year round. After World War II, performances at the Festspielhaus did not resume until 1951.

If one is fortunate enough to obtain tick¬ ets, which are among the most expensive and difficult to get in all of Germany, an audience is not only treated to the world's foremost Wagnerian singers, stage design¬

ers, etc., but — something that may be overlooked — also to an orchestra com¬ prised of the most outstanding instrumen¬ talists from orchestras all over Germany. (After 1966, it was not possible for musi¬ cians from East Germany, the German Dem¬ ocratic Republic, to be invited due to polit¬ ical restrictions and prohibitions.) It is a veritable "all-star" ensemble that comes to¬ gether every summer for two weeks of re¬ hearsals and four weeks of performances for a well-paid engagement, the special Ba¬ varian Gemiitlichkeit that Bayreuth offers, and a unique musicians' camraderie. Many also bring their families and make a holiday out of it.

Over the years, the clarinet section of this Bayreuther Festspielorchester has been comprised of some of Germany's most fa¬ mous and influential clarinetists, including such well-known players as Richard Mtihl- feld (who played during the opening 1876 season, throughout much of the 1880s and 1890s, and became friends of Richard, Cos- ima and Siegfried Wagner) (see Illustra¬ tions Nos. 4, 5 and 6); Franz Klein, who played for 20 years (1958-1978) (see Bruce Edwards' "An Interview with Franz Klein" in The Clarinet, Vol. 24, No. 1); Heinrich Geuser, the famous teacher of many of Germany's best players, including Karl Leister; Robert Stark (noted for his etude

material, but who only played one season, 1884); and Georg Zeretzke, current solo clarinet in the Deutschen Oper Berlin and professor of clarinet at the Hochschule der Kiinste in Berlin, who played solo clarinet in Bayreuth during much of the late 1970s and 1980s. Alfred Sous' recently published Das Bayreuther Festspielorchester provides a comprehensive listing of all of the musi¬ cians (and the years they played) who have played in the orchestra since its first season. The 228-page Das Festspielbueh 1997 even includes individual photos of all the mem¬ bers of the orchestra and chorus, a clear in¬ dication of how important these ensembles are regarded in the whole Wagner experi¬ ence. The list of conductors who have ap¬ peared at Bayreuth reads like a "Who's Who" among conductors: Knappertsbusch, Karajan, Keilberth, Kempe, Krips, Klei- ber, Cluytens, Strauss, Bohm, Sawallisch, Furtwangler, Boulez, Levine and Baren- boim (see photo below).

What do the clarinetists think of the acoustics of this famous Wagner-conceived hall? "Very different," "No other like it in Germany," some said. Although all agreed that from the audience's perspective it pro¬ vides a good mix of the orchestra with the singers on stage, all concurred that because of the pit's size and the depth of the angle downward from the conductor's podium, the brass and woodwinds, situated in the

A gallery of conductors' photos


Illustration No. 1: Solo (First) clarinet part (from the early 20th century) to the Overture (Vorspiel) to Wagner's Parsifal

back of the pit, had to play very loudly most of the time. The winds, situated in the lower back rows, are completely depen¬ dent upon the conductor for maintaining ensemble precision since any vocal cues from the stage and other wind players in the pit are largely inaudible. (By the way, the orchestra still uses original parts that date back to the 19th century, and most have dated autographs of players who have used them over the years.) (See Illustra¬ tions Nos. 1 and 2.)

Wagner's unique arrangement of the or¬ chestra calls for the first violins to be at the conductor's right and that the contrabasses be separated. His designated division of the cello section did not work and has not been employed over the years. Herbert von Kara- jan's attempt during the 1950s to change the seating arrangement to a more tradi¬ tional one was not successful. Tradition is very important in Bayreuth!

The pit is built in such a way as to make the orchestra only audible, not visible, since there is no vantage point in the audience from where the musicians can be seen. (There are no balconies, and the lip of the pit extends high enough to make it impos¬ sible to peer down into it from the audi¬ ence.) (See Illustration No. 3). As a result, there is no "show boating" for the sake of the audience by the conductor, and the musicians are allowed to wear almost any¬ thing they wish!

How are members chosen for the or¬ chestra? Unlike most professional orches¬ tras, there is no personnel manager in¬ volved (with the inevitable political intrigue) or formal audition process. New members are simply chosen based upon recommen¬ dations from members of the section, and once a new player has proven him/herself for a season, he/she is free to return each year. Contracts, however, are written for only one season.

netist of the Staatskapelle Berlin (Deutsche Staatsoper Berlin), and in 1985 became the solo clarinetist. He has been solo clarinet in the Bayreuth orchestra during the 1992,

1994 and 1997 seasons. He has performed with such ensembles as the Trio Apollon, Kammerhannonie der Lindenoper, Ensem¬ ble Variazione der Staatskapelle Berlin and

The Clarinet Section

for the 1997 Season

Matthias dander (first and third clarinet) was born in Berlin and studied at the Hochschule fiir Musik, "Hanns Eis- ler" in Berlin with Hans Radiinz. Later he studied

with Professor Ewald Koch, as well as Karl Leister. In 1983 he was engaged as El' clari-

Albert Alphin Wind Instruments, Inc.

Expert Repair, Restoration and Alterations, Customized New Clarinets, | Custom Barrels and Bells, Handcrafted Mouthpieces, Custom Refacing.

LARGE SELECTION OF: Clarinets, Reeds, Reedmaking Supplies,

Mouthpieces, Cases, Instrument Stands, Accessories and Sheet Music!!

All at Discount Prices!!

FREE Catalogue on Request

590 South Street Box B Needham MA 02192 (617) 449-4197


{313-1^

• - ; <?/$■ jT^

^ ^/9^j4^C^A-.-' - fe, -fywr /&>

a" ^f' ■•'''*- *0 , - 'a "r* ■—. .. // j,

_ ~~79f¥ '' :*iJl—"

(■_ ■ v ..--

strt&r ■<

.,>»i

xiLJ* ..•• //^,'^zM

/p. 'fit*?

'A>

^p-: :^---. ■ ■

V'lf 1

Illustration No. 2: Autographs of clarinetists on the Parsifal part from 1933 to 1957. Note in 1933 the conductor was Richard Strauss and the clarinetists were Hermann Schrader and Waldemar Conrad. In 1936 Wilhelm Furtwdngler was the conductor and Willy Schreinecke from Leipzig was the solo clarinet. Apparently there were no perfor¬ mances of Parsifal during the war and post-war years 1939-1950. Performances resumed in 1951 with Hans Knappertsbusch on the podium and Heinrich Geuser and Richard Ebeling (from Hannover) playing solo clarinet. During the Spain tour of 1955 Gerd Starke played solo clarinet.

Bldsersolisten der Staatsoper. His clarinets are by Fritz Schiiller of Markneukirchen, his mouthpiece is by Viotto and his reeds are Vandoren.

Nothart Miiller (first and third clarinet) was bom in Berlin, where his father was a violist in the Komischen Oper Berlin. He studied clarinet at the Hochschule fiir Musik in

Berlin with Professor Ewald Koch. He took part in the competitions in Prague (1971), Markneukirchen (1974 and 1976), Kurpin- ski Competition (1975) and Genf (1979). Since 1981 he has been the solo clarinet in the Sinfonieorchester des Norddeuts- chen Rundfunks in Hamburg and solo clar¬ inetist in Bayreuth for seven seasons (1985, 1986, 1991, 1994-1997).

Thomas Franke (sec¬ ond clarinet) studied with Ewald Koch in Berlin and with his father Hermann Franke. He has played with the Landestheater Halle, solo clarinet with

the Staatsoper in Berlin (1974—1986), and since 1986 in the Philharmonischen Staats- orchester Hamburg. He has also taught at the Musikhochschulen in Berlin, Liibeck and Hamburg. He plays Herbert Wurlitzer clarinets, a Todt mouthpiece and Kriiger reeds. 1997 was his first season in Bayreuth.

Wolfhard Pencz (first and third clarinet) studied at the Hochschule fiir Mu¬ sik, "Hanns Eisler," in Ber¬ lin with Professor Ewald Koch. Since 1986 he has been solo clarinet with the

Siidwestfunk Sinfonieorchester in Baden- Baden and Freiburg. His clarinets and mouthpiece are made by Herbert Wurlit¬ zer, and he has played seven seasons in Bayreuth (1989-1994, 1997).

Bernd-Michael Has- sel (second and bass clar¬ inet) studied with Profes¬ sor Franz Klein at the Hochschule fiir Musik in Cologne, and he present¬ ly serves as the bass clar¬

inetist in the Sinfonieorchester des Saar- landischen Rundfunks Saarbriicken. His clarinets and mouthpieces are made by Herbert Wurlitzer, and he has played 18 seasons in Bayreuth.

Bass clarinetist Joa¬ chim Welz (second and bass clarinet) studied at the Hochschule der Kiinste in Berlin with Professor Heinrich Geuser and later with Professor Georg Zer-

etzke. He has played with the Philharmonie Orchester der Stadt Kiel, and as bass clar¬ inetist with the Deutschen Oper Berlin

(1978-1983), and since 1983 with the Deutschen Symphonie Orchester Berlin (formerly RIAS Symphonie Orchester). He has played in Bayreuth for 15 seasons. He has two bass clarinets; one made by Fritz Wurlitzer and the other by Herbert Wur¬ litzer. His soprano clarinets are by Wolf¬ gang Dietz with Wurlitzer mouthpieces refaced by Georg Zeretzke, and he plays Vandoren German cut reeds.


Rico

Grand Cowm

SELECT

©1998 liico liiternational Worldwide (8IS) 71)7-7(1:50 US (800) 891-RICO (742(i) wwv.ricorefds.com

BOOSEY^HAWKES

Ulrich Schliiter (sec¬ ond clarinet) studied with Udo Schmidt and Peter- Klaus Loffler in Frankfurt. During 1984-1985 he was solo clarinet in the Giir- zenich Orchester der Stadt

Koln. Since 1987 he has been the El' and second clarinetist with the Orchester des Hessischen Staatstheaters Wiesbaden. He has also played in orchestras at the Staats- theater Darmstadt, Nationaltheater Mann¬ heim and the Staatstheater Mainz. 1997 was his first season in Bayreuth. He plays Wurlitzer clarinets (A, B'' and E^) and Van- doren Black Master reeds.

Clarinetists for

the 1998 Season

Karl-Heinz Steffens studied at the Musikhoch- schule in Mannheim with Professor Ulf Rodenhau- ser. He played with the Staastheater in Kassel (1984-1985), solo clar¬

inetist in the Frankfurter Oper (1985- 1989), and solo clarinetist in the Sym- phonieorchester des Bayerischen Rund- funks in Munich (1989-1996). As a cham¬ ber musician he has played with the Amade wind ensemble and in the Charts Ensem¬ ble. His interest in jazz led to his founding of the BR Symphony Big Band in 1995. Since 1996 he has been the professor of clarinet at the Musikhochschule in Han¬ nover. Steffens replaces Matthias Glander as first and third clarinet.

Kai Fischer (second clarinet) studied at the Musikhochschule Heidel¬ berg-Mannheim with Pro¬ fessor Hans Pfeifer dur¬ ing the period of 1987- 1992. During 1991-1994

he served as bass clarinetist in the Orches¬ ter der Hansestadt Liibeck, and since 1991 he has been a member of the Philharmo- nischen Staatsorchesters Hamburg. His soprano clarinets are made by Herbert Wur¬ litzer, his mouthpiece by Viotto and his reeds are Vandoren. He uses a Berger mouthpiece and Steuer reeds on his Her¬ bert Wurlitzer bass clarinet. He replaces Thomas Franke as second clarinet for the 1998 season.


BAYREUTH FESTSP1ELHAUS Versenktes OrcHestes-

C QuatsdiHffr)

Zuschauemum* BuhMt,

"Atobt/w des BUhHutbodens Sâ*, out it*

\^0 -J-_46CL-| 3/30- j_ ^/fcr *| A,4^ "11,40-

^SBS^SS^SSS^^SS^mSSî M&w

&KyGB-rrf-* 'KD.

Illustration No. 3: Cutaway side view of the pit

Dieter Velte (bass clar¬ inet) studied at the Mu- sikhochschule in Detmold with Gerhard Albert, Jost Michaels and Hans-Die¬ trich Klaus. He has played bass clarinet in the Orches-

ter der Staatstheaters Darmstadt (1985), the Radio-Sinfonieorchester Frankfurt (1987) and since 1989 as solo bass clarinetist with the Deutschen Oper Berlin. He also plays in the EBENOS clarinet sextet and with the Quintettsolisten, which is comprised of members of the clarinet section of the Deutschen Oper. He plays a Herbert Wur- litzer bass clarinet and mouthpiece and Steuer reeds. Velte replaces Joachim Welz as second and bass clarinet.

Selected Bibliography Eberhard Kretschmar. Richard Wagner. Sein Leben

in Selbstzeugnissen, Brief en und Berichten, Ber¬ lin, 1939

Josef Oehrlein. "Die Musiker des Bayreuther Fest- spielorchesters," Das Orchester, 1983 (30)

Alfred Sous. Das Bayreuther Festspielorchester, Robert Lienau Musikverlag, 1997

: ; — -

©flt? gejlfpielâud in Sai^reuff) gur êit fcer erften 2Iuffu^rungcn

Illustration No. 4: Drawing of the Festspielhaus from the the first season, (from Richard Wagner. Sein Leben in Selbstzeugnissen, Briefen und Berichten, by Eberhard Kretschmar, Berlin, 1939)


(The kind and generous assistance of both Professor Georg Zeretzke and Cor- dula Heymann in preparing this article is gratefully acknowledged.)

Illustration No. 5: Miihlfeld is in the cir¬ cled photo on the right.

(Used with permission of the Richard Wagner National Archive in Bayreuth.)

\

Seilane an ben ,^SIncr SJndiricfiten." njf»„ni o in u u

Biihnenfestspielhaus in Bayreuth.

SluffflftrunBrn om 13.—17, 20.—24. u. 27.—30. Sluguft

SBaguet'S Setralogie

$cr fRtng 9iibeluitgen. ErPtr ZDenti: n^ttnsoli

: :

1 **"'*- • ■ ■ rvl&s ii~ On tai {SuKn|.' L 9* Mt tv#« M 85

....-S

$ritln Sl6enl: Ettoiric!), "ntt Oô »glmnH > ». C4»lrit .... . . , . . gi. Owtc • V 'fU. {|Htn»fc «■ "" 1 Siita Qkjnk n 9«[fnla|

Sinter atKni: (SaitctWinmfrmifl.

Sir :

ffiintrilH-SfatltB Pb ôtrtnalfditis) jn btjitieii twnS tini lilnrr Pidintii PuprtJmiH.

3eifungdan|eige fur &ie erflen Q3apreufêr Jeflfpiefc im Sfaljtre 1876 iûrcf) &en Joiner 2Ricf)art> SBagnerêrein

Illustration No. 6: Newspaper announce¬ ment from 1876 about the opening season of the Festspielhaus (from Richard Wag¬ ner. Sein Leben in Selbstzeugnissen, Brie- fen und Berichten, by Eberhard Kretsch- mar, Berlin, 1939)

"Whether in concert or

in class, I never have any

doubts with this reed."

MICHEL ARRIGNON Professor

Conservatoire National Superieiir de Paris

\

<r^

\

Grand Concert-

SELECT

©1998 Rico International Worldwide (818) 767-7030 US (800) 891-RICO (742(i) ww.ricormls.coin

BOOSEY^HAWKES BOOSEYf oHAWKES

July /August 1998

over the instrument, with an even sound from the softest to the loudest dynamic. The register response is

much better than my previous clarinet's. Articulation is much more secure. Reed selection becomes somewhat

less critical, too, simply because the instrument's overall performance is so much better. And the sound is

compact and well focused. To my ear, it's simply a well-balanced disposition of overtones that I find to i

be just about ideal."—Larry Combs

World-Class Imtrurnermfrom the World ofLeblanc

LEblAiNC@ France*

G. Leblanc Corporation 7001 Leblanc Boulevard P.O. Box 1415 Kenosha, Wisconsin 53141-1415 USA Internet: http://www.gleblanc.coin/gleblanc/

©I!)!>8 Riro International Worldwide (818) 707-7030 US (800) 8iM-l»l('0 (7120) www.ricoreeds.coin

BOOSEY^rj'HAWKES

norcat MUSIC PRESS

7402 Wells Blvd. Hyattsville, MD 20783-1920

phone: 301-422-9006

❖

New Book

The Clarinet Concerto in Outline

by Dr. Norman Heim

Professor Emeritus University of Maryland

143 pages, 177 composers $23.00 + $4.00 shipping

Other Books

Clarinet Literature in Outline $20.00 + $4.00 shipping

Ornamentation for the Clarinetist

$20.00 + $4.00 shipping

The Clarinet Sonata in Outline $25.00 + $4.00 shipping

Free Catalog Clarinet and Woodwind Music

CONSISTENTLY

DEPENDABLE

ACCESSORIES

^nur j\rttstru

Mest

MOUTHPIECES

LIGATURES • REEDS CLARINETS

ADJUSTABLE THUMB RESTS MPCE. & TEETH CUSHIONS

IMPROVED-ANGLE BASS

CLARINET NECKS SPECIAL KEYS

Brochure on Request

pioobfcitnh ^robucts

P.O. Box 3935-C Westlake Village, CA 91359

(805) 497-8161

July/August 1998 Page

New from Rovner Products

evS : * x.

Featuring "Quickswitch Technology

Twelve responsive tones, two easy inserts, one great ligature, and

...PERFECTION!!!

The newest Eddie

Daniels model is the only

ligature available with

"Quickswitch Technology"

„ which allows you to

switch between 12

distinct tones in a matter

of seconds; quicker than

any other model ligature!

This new model also

features the liveliest and

most open sound of any

ligature available. You

don't have to be Eddie

Daniels to play this

ligature, but Eddie does,

so why shouldn't you?

"Over twenty years

of quality service,

design, and innovation,

to create the best

possible product

for you..."

Ration by Des/Ae

erformance by ^)e

For more information on the EDM write: Rovner Products

P.O. Box 4116 Timonium, Maryland 21094 USA

Phone: (410)252-7750 Fax: (410)252-7792 E-mail: [email protected] Visit our Web-site: www.directweb.com/rovner


>1 iisic from the

I.C.A. '96 CD Kaleidoscope for clarinet and piano,

James Fry — Elizabeth Rheude Lijjnon for unaccompanied clarinet, Paul

M. Douglas — Arthur Campbell Three Sketches, Op. 44/2, Augustin

Kubizek — The Presitige Quartet: Kimberly Boardman, John Kurakawa, Elsa Tung-Wing Lam and Sarah Nowlin

Air for solo clarinet, Philip Collins — James Freeman

Intimations, Sebastian Currier — Nathan Williams

Lexington Trio, Op. 151 for basset horns, Norman M. Heim — Trio Chalumeaux: Cindy, Don and Michael Christensen

U.S., Canadian and Mexican orders: $13, plus $2 postage. All other countries: $13, plus $4 postage

Order from: Music from the I.C.A. CD, Laroy Borchert, Dept. of Music, New Mexico State University, Las Cruces, NM 88003

Make checks payable to: International Clarinet Association,

Music from the I.C.A. CD

"This reed helps me

create the exact sounds

I imagine.

SEIJI YOKOKAWA Principal (lariiiclisl

NIIK Svmphonv Orehestra. Tokyo

SELECT

©l»!)8 liico Inlmiational Worldwide (818) 7li7-7():{0 US (800) 8!)I-I! 1( 0 <742fi) www.i icorci'ds.coiii

BOOSE Y^HAWKES

SAYRE WOODWINDS

Mouthpieces

_ -A- • Handcrafted 10 CZX -i1

# Mass Produced TRADmON u ^ n uu ^ x • Hard Rubber

r * o » ' • 14kt Gold Facing

^OF . Refacing

( o i

excellence ' Adjustment ✓ oIoBE®*"* >

( ^ MAKERS 0 I • Repair of Broken * ^jcago.^ ^ Mouthpieces

Accessories

Clarinet Repair

Shop: 19 W. St. Charles Rd. Lombard, IL 60148

Mail: 60x 164, Clarendon Hills, IL 60514

708-916-1525


Cfifue (>/urine/

Otute& IBM J^T r /. fjftorf

by Edward Palanker

Did you know that Bach wrote the finest concert pieces ever written for the bass clarinet? Did you

know that he wrote the best concert etudes ever written for the bass clarinet? How about the finest technical studies for flexi¬ bility, or the best tonal and intonation stud¬ ies for the instrument? Well, I know you know that he wrote the finest music to learn how to read the bass clef for the bass clar¬ inet, right? Well one out of five ain't bad.

Bach may not have known it, but he was by far the best composer to ever write for the instrument. The Suites, challenging and full of great music, make fantastic concert pieces or etudes. You can teach a student how to phrase in a very romantic style, tak¬ ing great liberties with a great deal of ruba- to and developing an independent style of playing. Or you can teach the Suites in a very strict style, reflecting the period in which they were written. You can play these with great discipline or great free¬ dom, in any style you wish. They can be music of any period, for any time.

I have performed some of these pieces at concerts as complete suites, as well as individual movements. When I used to take auditions, I would use the Bourree 1 and 2 from the Third Suite as my prepared piece. It usually made a very good impres¬ sion. Leonard Bernstein remarked to me, "That was a remarkable job young man," (I was 24 at the time) when I was in the finals for the New York Philharmonic years ago. I think he was really surprised to hear someone in the mid '608 play Bach on the bass clarinet. Good music is good music on any instrument.

I play them as written with no transpo¬ sition or editing. When I come to double stops, as in Example 1, from the Sara- bande in Suite #1, I play them as broken chords or grace notes, sometimes revers¬ ing the order of the notes if it suits me (you make up the rules). In Example 2, from the same movement, I just play the quarter

Page 42

note D as a 16th note continuing the line of 16th notes and the double stop as a B grace note to the D. In Example 3, from the Prelude in Suite #3, you may want to play the lower G an octave higher in order to keep the line flowing. In Example 4, from the Gigue in Suite

you could omit the bottom note. Of course, breathing is a tremen¬

dous problem in these pieces, so you have to be a little creative if you can't circular breathe. You can leave notes out, as in Example 5, from the Prelude in Suite #I, or do some creative phras¬ ing so that it sounds like you meant to slow down at a certain place and take a breath, as in Example 6. Or just don't

. .

a j-a-; ja'Vi j JtFi

worry about it and breathe wherever it seems to make the most sense musically. These are just some ideas on how to get around the prob¬ lems of these pieces.

The Clarinet

You can use the slow movements to help develop your students' tone quality, as well as a smooth legato and lyrical style. Use the fast ones to develop their technique and flexibility. Use all of them for phrasing. I do not teach the sixth suite because of the use of the tenor clef. There is no reason to learn to read this clef other than the sheer enjoy¬ ment of being able to play this suite, but I have found that having five bass clarinet suites of J.S. Bach is quite ample to satisfy my appetite.

About the Writer...

Edward Palanker is the bass clarinetist of the Baltimore Symphony Orchestra and teaches both clarinet and bass clarinet at The Peabodv Conservatory of Music and Towson University.

I.C.A. Website:

www.clarinet.org

nmm music comfant

263 Huntington Ave.

Boston, MA 02115

(617) 266-4727

Fax (617) 266-1517

Professional service by Emilio Lyons

New England Headquarters for new and used

clarinets, mouthpieces, and other accessories

Featured are Buffet, Selmer, Let lane, and Vandoren products

£1 • I " Each BG ligature produces a different sound. 91

Ligatures

I"-SIANDARD^^r^REVELAnON^ISUPERREVELATION | TRADITION

AN IDEAL LIGATURE FOR ENSEMBLE WORK AND CHAMBER MUSIC

- Darker sound - Free blowing.

THE SOLOIST LIGATURE

- Clear sound - Easy Staccato.

THE SOLOIST LIGATURE - Exceptional radiance - more brilliant and compact sound due to the gold plating.

THE ORCHESTRAL LIGATURE - Direct sound projection - Brilliant sound (richer in gold plating).

developed with Robert BIANCIOTTO Developed with

Ricardo MORALES

from the New York Metropolitan

Opera Orchestra

developed with Guy DANGAIN

PIckc ligature above the heel of the reed for best results

For the complete BG catalog and a free sample of BG mouthpiece cushions, please contact:

NORTH AMERICA: ROUSSEAU Music Products, Inc. P.O. BOX 651 BLOOMINGTON, IN 47402 Toll Free: (888) ROUSSEAU (768-7732) Fax: (812) 332-2555 e-mail : [email protected]

OVERSEAS: TjT^I Franck BICHON Tel. (33) 04 78 56 86 00

FRANCE Fax (33) 04 78 56 57 78 http://www.musicindustry.com/bg/ e-mail : [email protected]


COMMITTED TO NEW ORLEANS JAZZ AND METAL CLARINEW-

EBERHARD KRAUT HAS m HI/ HEART

ON THE NEW ORLEANS CLARINET;

by Ralf Kriiger

Eberhard Kraut with George Lewis' metal clarinet at the Jazz Museum in New Orleans.

(Note photo by Bill Russell of George Lewis in the background.)

(Photo by Christel Mtiller-Kraut)

Everything began with the desire to own the same model of metal clar¬ inet that his great jazz idol, George

Lewis from New Orleans, had played — an Albert system made by Harry Pedler of Elkhart, Indiana. This was 15 years ago. Since then Eberhard Kraut from Leonberg/ Stuttgart, Germany has acquired a large collection of metal and wooden clarinets, most of which he overhauled himself. His chapped hands show that he has not be¬ come tired of overhauling the slender in¬ struments, as he holds the view that mu¬ sical instruments have to be playable. "You do have to hear how they sound."

"Somehow or other, I slid into it." Eber¬ hard Kraut cannot really tell how this pas¬ sion for collecting clarinets began. The 49- year-old engineering graduate's attention was drawn to the metal clarinet with the rare Albert system by a photo of the famous Bunk Johnson Band 1944 taken by Bill Russell, the foremost authority on New Or¬ leans jazz. "George Lewis' clarinet looked really strange," Kraut recalls. The fact that he is a clarinet player himself — he started to learn the clarinet as a member of a Mu- sikverein (a typically German woodwind and brass band) in 1966 — and the fact that he later began to admire George Lewis' way of playing inspired him to deal more closely with the metal clarinet. "I got my inspiration from New Orleans jazz," says Kraut. Eberhard Kraut's eyes are shining, while he is talking about his favorite music. He had not been able to acquire a taste for the so-called beer tent music played by the Musikverein. His brother, who is his senior by a couple of years, made him familiar with traditional jazz. At the age of 18 Eber¬ hard Kraut got hold of the music of "Wild Cat Blues," one of Monty Sunshine's fa¬ vorite tunes, and tried to play it on his wooden clarinet. He became more and more interested in that kind of music and finally he came upon the authentic jazz played by George Lewis a.o.

When listening to George Lewis' re¬ cordings done by Bill Russell in 1943-

45, of which he particularly enjoyed George's "Burgundy Street Blues," he knew he had found the right thing —"Eu¬ reka!" The cover of the record showed George Lewis playing the metal clarinet that was to become the object of Eberhard Kraut's efforts, the one he desperately wanted to get hold of.

In the 1930s, metal clarinets were very common in the U.S.A., but mainly in the Boehm system. And so Eberhard Kraut

soon learned that it was almost impossible to obtain a metal clarinet in the Albert sys¬ tem as played by George Lewis. Besides, he could hardly find any publications on the subject. "The only thing I had was the Bill Russell photo of George Lewis with the Bunk Johnson Band."

Not only did he want to know how to play a clarinet, he was also interested in learning how a clarinet is built and how it works. Eberhard Kraut was friendly with a


woodwind instrument maker in Stuttgart. In the 1980s, he often visited him, and by watching and assisting him he learned how to repair and overhaul clarinets. Later on he established contact with jazz and clarinet people in the New World, e.g. Bill Russell & Bill Wagner, Chris Burke, Alex Cory, Hartly Sevems, Scott Robinson, Barry Wrat- ten, John Russell, Sid Glickman, Dennis Eder & Gary Windo, Francis Perry, Emilio Lyons, Bob Ackerman, Jon Ray & Dick Bentson, Alden Ashforth, Tom Sharpsteen, Jim Gillespie, John Snyder, Bill Maynard, John McCardle, Kermit Welch, Doug Tank and Tom Wheeler.

When metal clarinets from the States were offered to him Kraut could not resist and he acquired a great many, even though most of them were in the Boehm system until, at last, the George Lewis type of metal clarinet he had feverishly longed for was

Each clarinet has its very own history. Concerning his wooden clarinets, Eherhard Kraut has put the main emphasis on models

played by jazz clarinetists like Alphonse Picon, Jimmie Noone, Johnny Dodds, Sidney

Bechet, Emile Barnes, George Lewis, Edmond Hall, Barney Bigard, Sidney Arodin or Omer

Simeon from the mid-1920s 'til the 1960s. (photo by Ralf Kriiger)

Eherhard Kraut with his 66-year-old Harry Pedler metal Albert clarinet, which is identical to George Lewis'. He already owns a great number of metal clarinets, which constitute an almost complete documentation of the history of this type of clarinet. His oldest instrument was made around 1857, his newest about 140 years later.

Apart from the George Lewis model, he also possesses the models of metal clarinets played by musicians of the classic jazz era 1920-50, like Don Murray, Frank Trumbauer, Capt. John Handy, Lester Young, Buster Bailey, Earl Carruthers or Willie Smith. (Photo by Ralf Kriiger)

also part of his collection: a one-piece Al¬ bert system by Pedler with detachable bell, screw adjusting tuning barrel, and silver soldered and strap-mounted pillars. He loved this silver clarinet so much that he almost shared his bed with the instrument he had chased after for years. For months the instrument was lying in a cupboard. "I was afraid to break off a key or to slip down with the screwdriver when overhauling this very rare metal clarinet," Kraut explained.

Only when A.G. Klapproth, a jazz friend from Marburg (Germany), came to the area where Eberhard Kraut lives, along with his New Orleans style jazz band and guest pian¬ ist Bill Sinclair of Connecticut, and asked him to play with his band did Kraut take his pride and joy out of the cupboard and overhauled it a few days before the concert, which took place in April of last year in a small town called Guglingen. For Eberhard Kraut is also an enthusiastic New Orleans

style jazz clarinetist. "If I join a band some¬ where tonight, I'll only play this particular instrument," Kraut insisted.

Eberhard Kraut is proud not to be a "crafty" instrument collector, as he has never wangled any clarinet out of anybody.

He also writes articles on New Orleans jazz and metal clarinets for specialist jour¬ nals, jazz magazines (e.g., The Second Line of the New Orleans Jazz Club) or liner notes for CD booklets of metal clarinet players, such as Brian Carrick or Chris Blount — free of charge, of course. Since 1986 the jazz idealist has been an honorary citizen of New Orleans in recognition of his publications on New Orleans jazz.

Eberhard Kraut has established interna¬ tional connections and is in touch with a great number of like-minded friends he got to know because of his passion for jazz and clarinets. Among those friends are some jazz musicians who play the metal clarinet today: Brian Carrick, Chris Blount, Jack McLaughlin, Nick Polites, Fabio Palchetti, Gordon Hunt, Kjeld Brandt, Mac Rae, Penn Pengelly, Michel Laplace, Jean Depoid, Franz Stuhler, Louis Siankope, Acker Bilk and Jiirgen Vieregge. Twice he even met the daughter of the legendary George Lewis, Mildred Zeno, in New Orleans. Her father's metal clarinet is on display at the Jazz Museum, and there seems to exist no fur¬ ther copy of the very special model of George's and Eberhard's Pedler. Thanks to Don Marquis, Kraut had the opportunity to scrutinize George Lewis' metal clarinet mi¬ nutely and to see for himself that it is iden¬ tical to his own.


Eberhard Kraut's love for metal clar¬ inets has not faded. Apart from his instru¬ ments and different clarinet mouthpieces, he has collected lots of descriptions of clarinets printed in old catalogs, as well as patent-specifications and serial number lists, which help him classify and date his instruments. Due to his extensive studies he has also acquired the specific skill to recognize on photos what clarinet model a particular jazz clarinetist was playing at the time. He is proud to own the identical model of most of the wooden or metal clarinets pictured in the hands of the old jazz masters, of which he also has the recordings on the new CD format.

Kraut hopes that his collection will go to a museum one day. "But before this hap¬ pens I am going to write a book about the history of the metal clarinet and the New Orleans clarinet tradition," says Eberhard Kraut with an air of determination. There is no reason to doubt his words.

* * * The above article was written by Ralf

Kriiger for the Leonberger Kreiszeitung on December 4, 1997, and it was republished in the German reed instrument magazine 'rohrblatt No. 2/1998 and then translated and revised by Christel Miiller-Kraut.

Marks Music

"Woodwind,™*,,

with a tradition of exceience since 1947"

For a FREE Brochure call or write

• Buffet Clarinets

•Reeds

• Mouthpieces

• Ligatures

• Moennig Barrels

• Accessories

• Customizing

•Repairs

rv

H SO N, Buhl Farm Dr, • Hermitage, Pa,9 16148 * 412 - 347 - 7629 |

THEODOR NAGEL GmbH. & Co.

Sawmillers

Billstrasse 118

20539 Hamburg, Germany

Tele: Oil 49 40 78 11 00 11

Fax: 011 4940 78 11 0024

We Supply

Defect Free Sawn Sizes

For All

Woodwind Instruments

Grenadilla Tulipwood

Cocobolo Kingwood

Cocus Plumwood

Ebony Amazon Rosewood

Olive Honduras Rosewood

Bubinga European Boxwood


In Tune

ZINNER

mouthpieces

nternational

Musical

Suppliers

Lightning speed

Effortless

inc. Exclusive importer

Bb, Eb, Bass Clarinet

French (Parallel or Angled) and German

P.O. Box 1122 Des Plaines, Illinois 60017-1122

Phone: 800.762.1116 Fax: 708.870.1767


-Cr ■O1

mia)nm«ni ail

XT

ffipnm

by Justin EA. Busch

After decades of undeserved ne¬ glect by all but a small number of perspicacious musicians, the mu¬

sic of Anton Rubinstein (1829-1894) has recently begun again to be performed wide¬ ly. Previously rare, recorded renditions of his larger pieces now number in the dozens; an important and impressive body of work is once more asserting vigorously its claims to serious attention from listeners. That at¬ tention is well rewarded; within the gener¬ ally conservative musical boundaries which he set for himself, Rubinstein's music is striking, expressive, and effective, instantly recognizable as having its own unique char¬ acter, style and sonority.

A substantial element of that character derives from Rubinstein's use of the winds, and in particular the clarinet. Rubinstein thought highly of the clarinet. When asked by Karl Goldmark for advice on composi¬ tion, Rubinstein restricted himself to saying simply that Goldmark should pay close at¬ tention to Mozart's use of clarinets within the orchestral texture. It was advice based on Rubinstein's own successful experience; most of his orchestral works contain nu¬ merous vivid and memorable passages for clarinet, either solo or in duet.

An examination of all of Rubinstein's uses of the clarinet would be a mammoth undertaking indeed, and would probably re¬ quire a book. In lieu thereof, I offer herein a few typical highlights. To this purpose, I have chosen four representative orchestral works, each offering a distinct yet charac¬ teristic example of Rubinstein's writing for the clarinet. As these works will be beyond the purview of most non-orchestral clari¬ netists, I conclude by examining in some¬ what greater detail the only two chamber works in which Rubinstein used the clarinet. Something of the nature of Rubinstein's quite congenial scoring will, I hope, become clear to those who may yet be unfamiliar with his larger scores.

Perhaps the best-known clarinet solo in Rubinstein's music, if only because it oc¬ curs in what is undoubtedly his most wide¬ ly known large work, is found in the slow movement of the Piano Concerto No. 4 in D Minor, Op. 70 (1864). The entire third

appearance of the movement's main theme is given to the solo clarinet, assisted dis¬ creetly by the second, and supported har¬ monically by the rest of the orchestra. The piano is left free to indulge in decorative roulades in rhythms of three over two for most of the 28 measures.

The theme itself, con molto espressione in an Andante tempo, is a prime example of Rubinstein's melodic serenity, and is well suited to the middle of the clarinet's range.

The initial eight-measure melody is an¬ swered by a four-measure section of striking beauty (the first phrase of which consists of two fourths and a tritone), which dissolves, via a bridge passage of six measures, into a further 10 measures based on the opening. Carefully controlled dynamic indications allow a climax on F to sound perfectly nat¬ ural, despite the same note having opened the theme and recurred several times in the course of its development (see Example 1).

*7 f f ^ I n J I JfrfF| j rxxi

LMJJ lAA^JAJLRjF

The memorable quality of the clarinet's role has been prepared carefully and is

sustained equally carefully. Apart from a few brief motivic fragments in the outer movements, the clarinet remains submerged in the orchestral texture throughout the rest of the concerto; nothing is allowed to dis¬ tract from the unique and extended lyric ari¬ etta. Sadly enough, there is at least one con¬ temporary pianist who has seen fit to arbi¬ trarily rewrite this movement, assigning the clarinet part to French horn. Not only does this rob the principal clarinet of a delightful solo, it also displays an abysmal ignorance of Rubinstein's other music. Rubinstein organized the slow movement of his first piano concerto around a prominent horn solo; it must be presumed that his choice of clarinet here was no accident.

The idiomatic writing reflects this; what is subtle and expressive on clarinet is obvi¬ ous when played on the horn. He knew the sound he wanted and how to obtain it.

As might be expected, Rubinstein's six symphonies offer a wide variety of colorful and eloquent moments for clarinet. The pro- totypically Tchaikovskian opening of the slow movement of the third (1855) springs immediately to mind, as do the chromatical¬ ly lugubrious passages leading to the devel¬ opment section of the opening movement of the enormous fourth (1874), the so-called "Dramatic" symphony.

Less melancholy, and more lightly scored, is the principal theme of the scherzo of the fifth symphony, Op. 107 in G minor (1880). The clarinet opens the rather jolly proceedings, and maintains a prominent place in the ensuing musical dialogue (see Example 2).

Supple in rhythm and lissome in phras¬ ing, such music speaks for itself. It

should be noted, however, that by opening the movement with the clarinet, Rubinstein has allowed himself the widest leeway for

timbral balance. The clarinet serves as the fulcrum, so to speak, between the lighter sounds of the flute and oboe and the weight¬ ier sounds of the strings. This balance cre¬ ates propulsive coloristic momentum with a


nothing and destroyed much suffuses the whole work.

The mask finally comes off altogether in the concluding section, a wonderfully grotesque funeral march, filled with piquant touches, oddly angular (and even more oddly scored) melodic scraps, and a genial¬ ly cynical atmosphere, interrupted only occasionally by more passionate outbursts. Of the multitude of prominent passages given to the clarinet, those which open the march, or which recur at various points thereafter, are perhaps the most memorable. The clarinet tone adds an altogether appro¬ priate funereally jaunty insouciance to the proceedings; the restrained use of the snare drum provides a further macabre fillip. Much of what follows would be scarcely out of place in a score by Kurt Weill.

Despite his obvious love for the clar¬ inet and proficiency in writing for it, Rubinstein left only two chamber works involving the clarinet: an octet for piano, horn, flute, clarinet, violin, viola, violon¬ cello, and doublebass, and a quintet for piano and winds. While an enterprising clarinetist might profitably make a tran¬ scription of the viola sonata. Op. 49, or the three pieces for viola and piano. Op. 11, No. 3, soloists looking for characteristic music by Rubinstein to perform will have to stick to these two larger works.

It must be admitted that, from the clar¬ inetist's point of view, many of the pleasures of the Octet in D minor. Op. 9, are those associated with orchestral playing rather than with more typical smaller ensemble works. The octet began life as a piano con¬ certo, written when Rubinstein was 17 and some of the flavor of the concerto approach survived its transformation a few years later. In fact, out of the 1,335 measures which make up the four movements, the piano is silent in only 125; 91 of these are found in the vigorous scherzo, which was added dur¬ ing the rewriting of the earlier piece. Even if substantial portions of the piano part are re¬ stricted to harmonic and percussive support, there is little question as to which instru¬ ment dominates.

Despite this, the clarinetist is kept rea¬ sonably busy (less so than violin, viola, and violoncello, but considerably more than the remainder of the ensemble). Notable contri¬ butions come during the development sec¬ tion of the opening movement and the mid¬ dle portion of the third. Most interesting to the solo player, however, must surely be the scherzo (generally a Rubinstein specialty), rhythmic and well-balanced. Passages such as the following, involving both solo pro¬ jection and careful attention to the rest of the ensemble, commend themselves to the chamber clarinetist (see Example 3):

Jj.1 ■ ' J-Ft ptf -

minimum of effort, setting off efficaciously the more ponderous trio, in which the horns and lower strings predominate.

In addition to the symphonies and a goodly amount of orchestral music associ¬ ated with his 19 operas, Rubinstein also wrote a number of independent orchestral works. Chief among these are three "sym¬ phonic portraits": Faust, Op. 68 (1864), Ivan the Terrible, Op. 79 (1869), and Don Quixote, Op. 87 (1870, actually subtitled "Humoresque for Orchestra"). Program¬ matic only vaguely, apart from a few spe¬ cific episodes in the last, these pieces con¬ tain nonetheless much picturesque scoring.

The first, exactly contemporary with the fourth piano concerto, offers yet another example of Rubinstein's sensitivity to in¬ strumental colors. Important solos are given to most of the winds and brass, but those for the clarinet are restricted carefully to the lower registers. The result contributes im¬ mensely to the somber effect of the work, especially in the extended slow introduc¬ tion, material from which returns in the gloom-wracked conclusion. Apart from a single pizzicato, the clarinet has the final despairing note.

The despair is expressed trenchantly, and its affinities with the similar emotion at the conclusion of the "Pathetique" symphony of Rubinstein's pupil Tchaikovsky, written nearly 30 years later, are clear. Indeed, the differences in emotional effect between the two works are largely due to the use of the clarinet by Rubinstein. In Faust, the clar¬ inets add a hollowness to the defeat, as if in exhausted resignation to the futility of striv¬ ing; in the "Pathetique," the low basses ex¬ press an utter bleakness, as of a spirit over¬ whelmed and destroyed. The absence of clarinets in the one, or their presence in the other, would change utterly the respective qualities of the two works. The care which has gone into each composer's scoring is audible instantly.

The Eroica fantasia. Op. 110 (1884), is unique among Rubinstein's larger works. Written ostensibly in honor of a recently deceased Russian military hero, it is in fact a sophisticated piece of music about public pomp and circumstance. Rubinstein's Olym¬ pian musical detachment from much of the ordinary hurly-burly of his day became occasionally quite sardonic, and nowhere more so than here. All the appropriate ges¬ tures are made, and some of them are even quite moving, yet a distinct awareness of the irony of an artist honoring one who created

The B'' clarinet is called for in the first three movements, being replaced in

the finale with the A clarinet. The charge of being a concerto in dis¬

guise has also been levelled against the Quintet for Piano and Winds in F major. Op. 55, but with much less justice. Even a casual examination of the piece reveals it to be more in the nature of a concerto grosso, wherein the winds act as concertino and the piano as ripieno, albeit with a virtuosic flair. The quintet in this regard appears as an obvious precursor to Chausson's some¬ what better known Concert, Op. 21, for piano, violin, and string quartet. In Rubin¬

stein's work the winds are not short¬ changed; each is given substantial opportu¬ nities to shine. The piano part likewise is substantial, and has attracted performers of the calibre of Hans von Biilow in Rubin¬ stein's day and Lindsay Lafford and Wolf¬ gang Sawallisch in ours.

Spacious and genial, the quintet (the first of three written by Rubinstein, and the only one involving the winds) is re¬ laxed in its formal structure, and awash in melody. A surprising number of the best tunes are given first to the clarinet. The wistful second theme of the first move¬ ment is a fine example (see Example 4):


Stvii/uunesit licuyi

The professional casecover

our state-of-the-art

4 layer insulating protection

... custom designed for every size and model clarinet case featuring ease of transport, multiple pockets, waterproof nylon shell and, of course ...

3003 Arapahoe St., # 221C Denver, Colorado 80205 Voice 303.291.0658 e-mail [email protected] Fax 303.744.1434 web www. altieribags. com

New Music

for clarinet

For clarinet quintet (2 clarinets, basset horn or alto clarinet and 2 bass clarinets) Peter Escher (*1915):

Clarinet quintet, op. 152 Hans Peter Graf (*1954):

Five music pieces, op. 164

For wind quintet (flute, oboe, clarinet, horn, bassoon) Hans Peter Graf:

Divertissement, op. 108

For soprano, clarinet and organ Peter Escher:

Psalm 93, op. 136, 3 Peter Escher:

Lullaby, op. 136, 1

List of editions available upon request

Musikverlag G. Aegler

CH-3762 Erlenbaeh i.S.

Phone/Fax 001141 33 681 16 65

A more urbane countertheme fol¬ lows immediately in the clarinet

and bassoon against a further motive in the piano. The initial melody recurs subsequently in a number of guises, no¬ where more beautifully than in mea¬ sures 274-282, where a quiet piano tremolo casts a dark gleam over the whole. Throughout the movement, the clarinet contribution is paramount.

The mellifluous scherzo features the A clarinet (the others call for B'' clarinet) amidst effective and conversational scor¬ ing; the trio offers still another fine mel¬

ody shared by bassoon and piano in al¬ ternation. The slow movement opens with a luscious horn solo, then moves through a variety of contrasting passages to a serene ending calling for some quite delicate isolated dotted half notes.

The driving finale, marked Allegro appassionato, returns the clarinet to the fore. Again the second theme is allotted to solo clarinet; warm and jaunty, it con¬ trasts well with the propulsive main theme, without diminishing the move¬ ment's momentum in the least (see Example 5).

Most of the following 30 bars are given to the clarinet, rhapsodiz¬

ing on elements of the theme. There are too many other fine clar¬

inet passages to even begin to mention in the space remaining, but special note should be taken of the way in which Rubinstein exploits the chalumeau reg¬ ister in the coda. After the clarinet has

introduced the section melodically, over a remarkable pianistic haze produced initially through rhythms of nine over eleven (in cut time), it joins the bassoon in octaves to provide, from within the wide-ranging piano part, an affably pom¬ pous sound suited admirably to the fes¬ tive quality of much of the movement (see Example 6).

etc.

Orchestral clarinetists are discover¬ ing much in Rubinstein's scores,

both through recordings and in increas¬ ingly frequent live performances. Cham¬ ber clarinetists are not entirely bereft, however, as I hope to have suggested. If this article has served to stimulate further interest in this still too neglected music, or to engender fresh performances, it will have realized its intentions amply.

Selected Discography Piano Concerto No. 4 in d minor. Op. 70: Shura Cher-

kassky. Royal Philharmonic. Vladimir Ashkenazy (Decca 448 063-2); Alexander Paley. State Symphony. Igor Golovchin (Russian Disc 11 360); Oleg Marshev, Artur Rubinstein Phil¬ harmonic. Ilya Stupel (Danacord 411)

Symphony No. 5 in g minor. Op. 107: George Enescu State

Philharmonic. Horia Andreescu (Marco Polo 8.223320); Slovak State Philharmonic. Barry Kolman (Centaur CRC 2185)

Eroica Fantasia, Op. 110: Slovak Radio Symphony, Rob¬ ert Stankovsky (Marco Polo 8.223576).

Faust: (With Symphony No. 5; Marco Polo 8.223320). Quintet, Op. 55: Alexei Nasedkin. Ensemble (Russian Disc

11061). 0m, Op, 9; No imwding psenfly avsilebl# in Nenh

About the Writer... Justin E.A. Busch is a composer and

writer residing in Hamilton, Ontario, Canada. Among his works are several giving prominence to the clarinet. He is presently pursuing a Ph.D. in philoso¬ phy at McMaster University, as well as working on a book-length examination of Anton Rubinstein's concerted works.


Southern

Music

Company

REEDS

Alexander Superial (5) $9.25 Vandoren Traditional (10) $11.95 Alexander Superial DC (10) $18.50 Vandoren V-12 (10) $15.95 Rico (10) $6.50 Vandoren Black Master (10) $15.95 Rico Royal (10) $8.25 Vandoren Hand Select (10) $23.95 Rico Grand Concert (5) $5.95 Regal Queen (10) $11.95 Rico Grand Concert Thick(5) $7.25 Zonda (5) $7.95 La Voz (10) $9.95 Fibracell Synthetic (ea.) $6.75 Mitchell Lurie (10) $12.50 Bari Synthetic (ea.) $6.75 Mitchell Lurie Premium (5) $6.25 Bari Star Synthetic (ea.) $9.95

I

Vandoren $7.50 Vandoren Reed Resurfacer $14.95 Selmer (Holds 5) $29.95 Silk Swabs $9.95 Selmer (Holds"! 0) $35.50 Vandoren Reed Trimmer $49.50

Gennusa $57.95 Vandoren B-45 $51.95 Eddie Daniels $68.95 Vandoren M-13 $54.95 Gigliotti $89.95 Vandoren 5 RV Lyre $51.95

CASES & COVERS

Pro Tec Clarinet Case Pro Tec Double Clarinet Case

$53.95 $79.95

J. L. Smith & Co. CRAFTSMEN & MERCHANTS

Charlotte, NC

Olathe Clarinet Carry All $59.95 Cavallaro Case Cover $52.00

1-800-822-2157

Publishers and Distributors

of Music for

Band, Chorus, Orchestra,

and Instrumental

Solos & Ensembles

VISIT US

ON THE WEB!

http://www.southernmusic.coiii

❖ ❖ ❖ ❖

Southern Music Company

P.O. Box 329 San Antonio, Texas 78292

210-226-8167

Fax 210-223-4537

Toil-Free 800-284-5443 e-mail:

[email protected]

3

Fratelli PATRICOLA s.n.c. Via Magenta, 10 - P.O. Box 50

15053 Castelnuovo Scrivia (AL) - ITALIA Telephone+39 131 826616 - Fax+39 131 823231 [email protected] http://web.tin.it/patricola

SALE POINTS:

The WOODWIND & The BRASSWIND 19880 State Line Road South Bend. Indiana 46637 Telephone (800) 348-5003 (USA ONLY) Telephone (219) 272-8266 - Fax (219) 277-2542

CHARLES BAY WOODWIND PRODUCTS P.O. BOX 3935-C Westlake Village, CA 91359 Telephone (805) 497-8161 - Fax (805) 497-8208

MUNCY WINDS P.O. BOX 1274 Boone, NC 28607 Telephone (800) 333-6415 - Fax (704) 963-8990

INTERNATIONAL MUSICAL SUPPLIERS inc. P.O. BOX 1122 Des Plaines, IL 60016 Telephone (800) 762-1116 (USA ONLY) Telephone (847) 827-0707 - Fax (847) 827-9092 Td obtain the tultlress of our sales points nearest to you write to Patricola Brothers


Eric Hoeprich 'erview

by Luigi Magistrelli

After his early meeting with Frans Briiggen, Eric Hoeprich took over the early music movement becom¬

ing one of the best specialists on the early clarinet, "trying to find the real meaning of the music through solid philological cri¬ teria..." Hoeprich was a performer at the 1998 ClarinetFest in Columbus and he per¬ forms often as a soloist and in various chamber ensembles. He is a professor at the Royal Conservatory of Music in The Hague, The Netherlands, and resides in Amsterdam. His cover article, "The Ear¬ liest Paintings of the Clarinet," appeared in the July/August 1996 issue of The Clarinet.

Luigi Magistrelli: Mr. Hoeprich, we all know that you are one of the most qual¬ ified experts on performance practice of the 18th century on early clarinets. Can you tell us why in the last few decades there has been a sort of increase in inter¬ est about performances based on philo¬ logical criteria using early instruments, copies or originals? Why did it happen? Why this awareness of rediscovering the charming world of different timbres and dynamic contrasts through the use of his¬ torical instruments?

Eric Hoeprich: I think that this has happened through experiments that were made in the 1960s in performing music of the Baroque era. The first perfor¬ mances (under the di¬ rection of people like Gustav Leonhardt and Nicholas Hamoncourt) of the Bach cantatas and passions led to a new and fresh view of this music, and one that seemed to be closer to

the composer's ideas. It was only a mat¬ ter of time before the same approach would be applied to later repertoire. By the end of the 18th century, the clarinet had found a secure place among the in¬ struments of the orchestra, and in cham¬ ber music as well. So I think using peri¬ od clarinets to play this music was a na¬ tural development from the "early days" of Leonhard and Hamoncourt. When I first began to play early clarinets, it was quite an exciting time as it was the last of the wind instruments to become part of the scene. It was necessary to find good instruments either to play or to copy, and to discover all the aspects of playing technique. For the most part, much of this has now been worked out, but there is still a lot to do. For one thing, now there is great interest in 19th-centu¬ ry repertoire, and I think it's fair to say that the clarinet was perhaps the most important wind instrument during the 19th century, with many important pie¬ ces written for it. and it held a prominent place in the orchestra's wind section.

LM: How did you approach the historical clarinets, and how was your musical education?

EH: I played the modem French clarinet from the age of 8 until I left home to

study at university, but I never intended to become a professional clarinet play¬ er. My plan was to study philosophy, which I did at Harvard University, and then go to law school. But when I ar¬ rived there at the age of 17, Frans Briig¬ gen was on the faculty as a visiting pro¬ fessor, so I had the opportunity to meet and study with him, which was, I sup¬ pose, a sort of turning point for me. My interest and excitement about "early mu¬ sic" grew when I attended his seminar on performance practice, and I realized that this path would probably satisfy both my scholarly and musical interests. At that time I decided to come to Eu¬ rope to study further with him, which I did with recorder, because there was no idea at the time that eventually the early clarinet would be of interest. So I stud¬ ied recorder, which I don't regret as it was a way to learn about 18th-century performance practice, which I was later able to use while playing period clarinet. When I studied the recorder I learned about 18th-century musical ideas, style, articulation, phrasing and how different this was compared to the modern ap¬ proach to music. So when I began to play early clarinets, I could use many of these ideas.

LM: Did you ever perform professionally on the modern clarinet as well?

EH: No, I never performed profession¬ ally on the modern clarinet, but I have played concerts on modem clarinets re¬ cently for historical reasons, such as per¬ forming the Brahms sonatas on clarinets by Ottensteiner, who made Miihlfeld's clarinets, as well the Saint-Saens Sonata on an early Buffet-Crampon clarinet with a crystal mouthpiece like Perier would have used. This together with a period piano makes these pieces sound quite differently.


LM: You have been performing with the Orchestra of the 18th Century con¬ ducted by Briiggen for many years; how was it founded, and what about its present activity?

EH: When the Orchestra of the 18th Century was founded by Frans Briig¬ gen, his idea was to bring together specialists from all over the world two or three times a year for projects beginning with rehearsals in Amster¬ dam, followed by a tour. All the peo¬ ple he asked he already knew from his own travels and concerts, so he had a good idea that these people would work well together. At the time he started the Orchestra I was living in Holland and, of course, I was very excited when he asked me to play, beginning already with the orchestra's second tour back in the early 1980s. The current activities of the orchestra follow the current trends in the early music scene with a lot of 19th-century repertoire. We just did a tour with Mendelssohn's Midsummer Night's Dream, and this month (November 1997) we will have a project with Kent Nagano as conductor playing Beethoven, Men¬ delssohn and Schumann.

LM: In what way can it be possible, in your opinion, to perform thinking about philological criteria but using modern instruments?

EH: That's a very good question. I re¬ cently heard a concert played by the Chamber Orchestra of Europe, which is a very good modem instruments group. They work a lot with Abbado and Harnoncourt, and through this and listening a lot to recordings and concerts on period instruments they have a good sense of style, articula¬ tion, phrasing, color, etc. When they play Haydn, Mozart and Beethoven, they use natural trumpets and old timpani and the effect is quite stun¬ ning, plus you have the greater relia¬ bility of modem instruments; howev¬ er, I don't think they would play so well or so interestingly if we had not done all the work in the first place to determine what this music sounds like on instruments from the time of the great Viennese school. Person¬ ally, although I like these performan¬

ces very much, I miss something be¬ cause it is a sort of imitation, but still better than nothing!

LM: Some eminent clarinetists don't approve so much of the performan¬ ces on early clarinets because they claim that it is so difficult to repro¬ duce the same performing conditions of 200 years ago on present copies or on original clarinets with no ap¬ propriate mouthpieces. Also, they say that at those times they played using the reversed position of the reed. What can you tell them about this point?

EH: First of all, there is a lot of evidence to show that the two reed positions existed side by side in the Classical era. I think it would be very interest¬ ing if someone were to develop the technique of playing with the reed on top, but I don't think it is a central point. Additionally, there is a great deal of material relating to playing the early clarinet, so I don't understand this objection that we cannot know how the clarinets sounded in the 18th and 19th centuries. So I don't really understand these objections to period clarinets, as I believe a good perfor¬ mance on such instruments can enrich everybody's understanding of this music. I think it is wonderful that so many great players play the Mozart Concerto on the normal modem clar¬ inet. You choose your instrument and it becomes a part of you and your ex¬ pression. I would never say to modem clarinet players that it is not "true" what you are doing, and I hope they would not say this to me.

LM: We know that you have a personal collection of early clarinets, both cop¬ ies and originals; could you tell us how many and which are the most precious clarinets that you have?

EH: I guess I have about 50 period box¬ wood clarinets. The most precious is the A. Grenser B^, made ca. 1785, and a very interesting basset hom made by Raimund Griesbacher, a Viennese maker, that is virtually identical to the basset homs of Theodor Lotz. Gries¬ bacher was also a clarinet player and performed at Esterhazy under Haydn. There is a clear connection between these instruments and the circle of

Furthering

the Art

■e^>-

A Jupiter Commitment

The Jupiter Model 93 IN Parisienne Artist Bt> Clarinet

ESJUPITER CLARINETS PO Box 90249 • Austin, TX 78709-0249


Mozart, Stadler and Lotz. Another inter¬ esting clarinet I have is a set by Gries- sling and Schlott, who were makers in Berlin and made clarinets for Heinrich Baermann.

LM: Do you think that it is more impor¬ tant to perform on an original histori¬ cal clarinet or on a very good copy?

EH: This is a kind of philosophical ques¬ tion. If you play on a good original, such as my August Grenser clarinet, I guess you can say this is truly authen¬ tic. But we have to remember that these instruments are 200 years old and that all the wind players at that time were playing on instruments that were rela¬ tively new. There is a difference in how a new and old instrument feels and reacts. The wood can get tired after a long time, and also there is the danger of the instrument cracking. So, origi¬ nals or copies — both are fine as long as they are good instruments.

LM: Do you play with an original mouth¬ piece as well ?

EH: Yes, I do. I have quite a few original mouthpieces. I have seen many outside of these as well and can say there is a large variation in design. The differen¬ ces in mouthpieces today are nothing compared to the variety that was played on around 1800. Back then there was not as much communication and there was no standard, so the players just learned to do their best with what was available to them.

LM: Could you explain to us, if you have a theory, why that after Mozart wrote his concerto, and a very few others (Siiss- mayr's Concerto movement, Paer's aria from Sargino with basset clarinet ob- bligato, and a cadenza, perhaps added by Stadler in a Kozeluch Concerto in B^), the basset clarinet was nevermore considered by any other composer? Could you give us some more informa¬ tion about this instrument which inspired Mozart for his masterpieces ?

EH: My feeling is that the Clarinet Con¬ certo, Kv. 622 was a sort of combined effort of the trio of Mozart, Stadler and Lotz. The three are inextricably bound together through not only this work, but other compositions, instrument-making activities. Freemasonry, and generally being part of the same circles in Vien¬ nese musical life in the last decades of

the 18th century. What fun it must have been for them as well to write for, play and manufacture this unique clarinet. And really, no one of them could have done it without the other. As for the bas¬ set clarinet itself, I believe in the end there were probably only the two instru¬ ments that Lotz made for Stadler, in B'' and in A. There was probably great interest in the instrument. We know that Scholl, who took over the Lotz work¬ shop, claimed to make basset clarinets, though none survives, and also Bac- kofen writes about it in his Anwei- sung... But I must say, as someone who has played the basset clarinet a great deal, it is difficult to play and to carry around, so it's understandable that the idea did not catch on. Furthermore, after 1800 composers' interest grew in the other direction, i.e., the clarinet's extreme high range rather than the low range. Just look at the compositions of Weber and Spohr, for example. In the end it was enough just to be able to play to a low E!

LM: Which are the most important trea¬ tises you would recommend in order to be aware of some fundamental philo¬ logical rules?

EH: The Methode of Xavier Lefevre creat¬ ed for the Conservatoire of Paris is the best source for playing the clarinet of the late 18th century, and one should be sure to get the facsimile published by Minkoff. The Backofen treatise is also useful, and A1 Rice has made a useful compilation of fingering charts in a very interesting article for the Galpin Soci¬ ety Journal. For performance practice the best sources remain the Quantz and Leopold Mozart treatises.

LM: Talking about chamber music, which are the groups you have at the present in which you are performing the most?

EH: For winds this would be the wind sextet "Nachtmusik" and "Stadler Trio" with three basset horns. But I also play regularly with various string quartets and with fortepiano.

LM: Could you make us a short list of your past solo recordings and the ones you plan to make in the future?

EH: The most important recordings are the Mozart Concerto and Quintet with the "Orchestra of the 18th Century" for Phil¬ ips, Telemann Chalumeau Concerto

with Musica Antique Koln on DGG, Weber Grand Duo on EMI, Stadler trios with Mozart basset horn music on Philips and Schubert Octet on Harmo- nia Mundi. Upcoming recording pro¬ jects include the three Mozart quartet arrangements for clarinet and string trio, more basset horn trios (this time on a set of original Lotz basset horns) and the Brahms sonatas on a copy of Miihl- feld's Ottensteiner clarinets. I have orig¬ inal Ottensteiner clarinets, but they are a bit used up. I will also record the Weber concertos next year.

LM: Could you make a comparison be¬ tween a performance on early clarinets and one on modern clarinets? Which aspects would you notice considering one and the other?

EH: If we take, for instance, a performance of the Mozart Clarinet Quintet on mod¬ em versus period instruments, there are vast differences in the effect the two will produce. I do not want to judge one as being inherently better than the other, but I do think I can get closer to what I feel might have been the intention of Mozart in composing the piece with period instruments. Obviously, the level of artistry must be very high no matter which instruments are being used. But the instruments lend themselves to a certain kind of playing. Modem instru¬ ments are built to be strong in volume and brilliant in sound. This can make it difficult to create a blended sound in Mozart, where the balance doesn't nec¬ essarily come with its cross-fingerings and uneven color over the entire range, together with the lower tension strings using gut strings creates a very different effect. The blend is easier to make and the instruments don't fight each other.

LM: Besides your concert activities, do you also have a teaching activity? If so, where?

EH: Yes, I teach in Holland at the Royal Conservatory of Music in The Hague and at the Conservatoire of Paris.

LM: Are there some particular composi¬ tions which are part of an unknown repertory for clarinet, in the solo and chamber music fields, that you would suggest that we should reevaluate?

EH: One of my favorite underrated com¬ posers is Franz Krommer. He wrote a number of works for clarinet solo, wind


ensemble, clarinet with string trio and string quartets, etc. Other underrated composers include Hummel, J.C. Bach, Danzi, Reicha, all the anonymous Har- moniemusik, and much music for chalumeau which is rarely performed.

LM: In what way would you recommend that students approach early clarinets?

EH: They should start by playing classical clarinet with five keys, trying to get one from a good maker by testing different ones and choosing the one they like. Then it would be a good idea to take a week or more away from the modern clarinet and study some pieces by Le- fevre, a Stamitz concerto or simple pie¬ ces by Mozart to see if they enjoy it. If not, there is always plenty to do on the modem clarinets!

About the Interviewer...

Luigi Magistrelli is a frequent contrib¬ utor to The Clarinet. He has recorded five CDs as a soloist and is presently professor of clarinet at the Conservatory of Milan. He also performed at the 1998 Clarinet- Fest in Columbus .

Clarinet Recordings THE VERDEHR TRIO: Elsa Ludewig Verdehr, Clarinet; Walter Verdehr, Vio¬ lin; Gary Kirkpatrick, Piano: The Making of a Medium. Six CDs in this continu¬ ing series of exciting new works. CD741: Hovhaness, Lake Samish; Bartok, Contrasts; Pasatieri, Theatrepieces; Mozart, Trio in D; Frescobaldi Canzoni. CD742: Rorem, End of Sum¬ mer; Musgrave, Pierrot; T.C. David, Schubertiade; Vanhal, Trio; Liszt, Hung. Rhapsody. CD743: Schuller, A Trio Setting; Averitt, Tripartita; Currier, Adagio & Variations. CD744: Dickinson, Hymns,

Rags and Blues; Husa, Sonata a tre; Freund, Triomusic; Niblock, Trio. CD745: Arutiunian, Suite; Schickele, Serenade; Sculthorpe, Dream Tracks; David, Triple Concerto (with the Tonkiinstler Orchestra). CD746: Diamond, Trio & Violin So¬ nata No. 2; Sculthorpe, Night Song; Corigliano, Violin Sonata.

TRIO INDIANA: James Campbell, Eli Eban, Howard Klug, Clarinets — CD734 i Jean-Michel Defaye, Six Pieces D'Audition; Peter Schickele, Dances for Three;

Gary Kulesha, Political Implications (with David Shea, clarinet, assisting artist); Michael Kibbe, Ebony Suite; Frederick Fox, Time Weaving. Trio Indiana is the clarinet faculty at the Indiana University School of Music. Each of the three is a world-renowned soloist and chamber musician. MOONFLOWERS, BABY! Jonathan Cohler, Clarinet — CD733. Hindemith, Clarinet Sonata; Honegger, Sonatina; Francaix, Theme & Variations; Vaughan Williams, Six Studies in English Folksong; Milhaud, Duo Concertant & Caprice; Bozza, Pulcinella; Kupferman, Moonflowers, Baby! with Judith Gordon, piano. Jonathan Cohler has "playing of real distinction" (BBC Music Magazine), and "superlative technique and consistently lovely tone" (Fanfare Magazine) MICHAEL EDWARDS, CLARINET — CD735. Sonatas for Clarinet & Piano by Camille Saint-Saens, Paul Ladmirault, and Bruno Bjelinski. Sonatina by Bohuslav Martinu; Solo de Concours by Henri Rabaud. with Timothy Bach, Piano. Michael Edwards has been in the Montreal Symphony, principal clarinet with the Cana¬ dian Chamber Ensemble, and soloist at the Orford and Stratford Festivals..

OTHER CLARINET RECORDINGS: Larry Combs: Rochberg, Schuller, Rosza (cass C731 only); James Campbell: Reicha, Francaix (cass C732 only). Also many more clarinet and woodwind ensemble recordings; Send for free catalog.

CD signifies compact disc ($16.95); C signifies cassette ($10.98) FREE CD or cassette with each purchase of three: for each four ordered, omit payment for lowest-priced one (mention this ad). Check, VISA, MC. Add $2.00 per order US shipping; $6. foreign CRYSTAL® RECORDS, 28818 NE Hancock, Camas, WA 98607, phone 360-834-7022, fax (24 hrs) 360-834-9680

Dreaming of a handmade clarinet?

We '11 make it for you !

djb

d0.£^OSSL CLARINETMAKER

t GUILLERMO FRANKE 2390, NUNOA, SANTIAGO 11, CHILE, FAX (562) 274 31 70 £


by Fernando Jose Silveira

The history of the clarinet in Brazil could be confused with that from other countries except for the fact

that a clarinet school didn't exist in Brazil before 1920. At that time all of our pro¬ fessional clarinet players came from army bands, and they joined symphony orches¬ tras without any previous preparation. And most of them came from wind bands from small cities.

At that time most of the orchestra mu¬ sicians came from other countries for only one season and then they left Brazil and returned home. We've had several good musicians that have taken lessons with clarinet players from those countries, and, since that time, we've started to learn more about clarinet and about music.

We've had big names like Caruso who have sung in opera houses here, and for that reason, having to play with such big names, the quality of Brazilian musicians has improved.

Fernando Jose Silveira

The first big name and maybe the most significant clarinet player we had in Rio de Janeiro at that time was Antco Soares. Mr. Soares has been, for years, principal clarinet for the Rio de Janeiro Municipal Theater Symphony Orchestra. Musicians from that time remember his beautiful tone and accurate technique. He was also the first clarinet professor of the music school of the University of Brazil (current¬ ly the School of Music of Rio de Janeiro Federal University).

During this period we had few profes¬ sionals playing classical music. Most of those clarinet players worked in popular music doubling on saxophones.

In the beginning of the '40s, the Bra¬ zilian Symphony Orchestra was founded, which is today one of the best private sym¬ phony orchestras in Brazil. The name of Jayoleno dos Santos is associated with this era as he was the principal clarinet of the Brazilian Symphony until he retired. He had also been the clarinet professor at Rio de Janeiro University for 35 years. He was perhaps the most significant teacher of that era, and he had played with the most important Brazilian composers.

Santos was the teacher of our best clar¬ inet players, such as Jose de Freitas (prin¬ cipal clarinet of the Brazilian Symphony and professor of the Rio de Janeiro Fed¬ eral University) and Luis Gonzaga Car- neiro (principal clarinet of the Brasilia Symphony and retired professor of the Brasilia University).

At that time all the people said that it was very difficult to get clarinet materials in Brazil. We didn't have shops to buy reeds, mouthpieces and instruments, and none of the clarinet players had A clar¬ inets. All of them had full-Boehm clar¬ inets (with low E'') and transposed the A clarinet part. Mr. Santos played the entire Mozart Concerto on the B'' clarinet! Can you believe that?

We also had "big bands," and, of course, great clarinet players playing in them, the best known being Severino Araujo. He founded the "Tabajara" Orchestra, and its repertoire was based on American orches¬ tras' hits, such as sambas and choro.

In the field of Brazilian popular music we had Abel Ferreira who was the most significant clarinet player playing "choro."

Choro is a type of instrumental music based on the samba. All popular musi¬ cians must play choro if they hope to get some jobs. All choro music was very dif¬ ficult, and, as they said, "Only the best player can play choro." Choro is for the Brazilian people like jazz is for the Amer¬ icans. The choro, together with the wind bands, was the main reason for the popu¬ larity of the clarinet at that time.

Another big name is Jose Botelho who is Brazilian but had studied in Portugal. He came back to Brazil in 1952 and today he is the most famous clarinet player in Brazil. For 30 years he played most of the premieres of the best Brazilian compo¬ sers, such as Villa-Lobos, Guarniere, Car¬ los Gomes, Oswaldo Lacerda, et al. Sev¬ eral clarinet concertos were written for him, such as the Concertino by Francisco Mignone, as well as solo pieces and a lot of chamber music. Botelho was the principal clarinet of the Gazeta Radio Symphony, Rio de Janeiro Municipal Theater Symphony, Brazilian Symphony and National Sym¬ phony. Now he is retired and is the clarinet professor of the Rio de Janeiro University.

Nowadays we have a lot of fine players playing and teaching in Brazil and abroad; for instance, Jose de Freitas (Rio de Jan¬ eiro), Jose Botelho (Rio de Janeiro), Ser¬ gio Burgani (Sao Paulo), Ricardo Freire (Brasilia), Pedro Robatto (Bahia), Paulo Sergio Santos (Rio de Janeiro), Maurmcio Loureiro (Minas Gerais), Cristiano Alves (Rio de Janeiro), and many more. We also have the Brazilian Clarinet Ensemble and the "Sujeito a Guincho" quartet that was present at the last ClarinetFest in Lubbock.

We are still alive, working to develop the clarinet, and, what is more important, trying to survive during the time of the synthesizer. It is not easy to be a musician in Brazil where, sometimes, we have to


(standing, l-r) Fernando Silveira, Cristiano Alves, Mauricio Loureiro; (seated l-r) Jose Botelho, Jose de Freitas (photo by Ana Siqueim)

deal with a lot of social problems, and cul¬ ture has to wait.

In the area of clarinet repertoire we have a lot of clarinet concertos, chamber music and popular music to be played, and much of that music could be com¬ pared with the most important clarinet music and should be included in the repertoire of all fine clarinet players.

Since 1996 we have had an association called the Brazilian Clarinet Association. Since it was founded we have gotten to know more and more people who play and love the clarinet. Like the International Clar¬ inet Association, we've had an annual meeting where we can attend recitals, mas¬ ter classes, discussion meetings and breathe clarinet all the time. For me, the Associa¬ tion was the best thing that has happened in the last 10 years, and now, with the help of the Association, we can learn more about clarinet, stimulate our students, have dis¬

cussions about our problems and, the main reason of the Association, give the clarinet the prominence it deserves.

About the Writer...

Fernando Jose Silveira was bom in Rio de Janeiro, Brazil, in 1970. He received the bachelor's degree in clarinet from the Rio de Janeiro Federal University where he is presently completing his master's degree. He won several contests in Brazil and he has played as a soloist with the best orches¬ tras in Brazil. As a chamber and orchestra player he has played in the United States and Europe.

He is currently the principal clarinet with the National Symphony Orchestra in Rio de Janeiro, a position he has held since 1993 succeeding Jose Botelho. He also presently serves as the professor of chamber music at the Rio de Janeiro Federal University.

BRANNEN WOODWINDS

Expert Repairing Our Specialty

Over 45 Years Experience

8:30-4:30 Tuesday, Thursday & Friday

908 Hinman Avenue

Evanston, IL 60202

(847) 866-7576

FHREDV SAM I

A Simple Solution to a Complex

Problem

tm

Take weight off of your thumb.

Concentrate on music, not your pain.

Have longer, more productive practice.

Prevent injury due to overuse.

Standing with a FRHED & SAM I

Seated using ft?P a FHRED ***"

! Standing with a FHRED, SAMI and Neckstrap Y

Recommended by professional

musicians and physicians for

practice and performance.

For clarinet, basset horn, soprano saxophone, oboe, english horn, oboe d'amore,

bass oboe.

Visa

Call 1-800-59-FHRED or visit ourweb site http://www.quodlibet.com

Available in several models and price ranges. iO day return if not fully satisfied.

Quodlibet® Inc. Tel: (303) 779-3083 PO. Box 3780 Fax: (303)779-4571 Englewood;CO 80155-3780

e-mail [email protected] Quodlibet, FHRED are registered trademarks and SAMI is a trade¬ mark of Quodlibet Inc.


Edited by

Brent Coppenbarger

The music of Bemhard Henrik Cru- sell (1775-1838) is becoming in¬ creasingly popular. Most of his

works are currently published. Crusell wrote two autobiographies; the shorter of the two, written in first person, is presented here. I would like to thank Britt Marie Moxness for translating the old Swedish into English. The following translation at¬ tempts to stay as closely as possible to the original syntax. (See also Pamela Western's "An Assessment of Crusell the Man," The Clarinet, November/December 1994. Ed.)

Bernhard Henrik Crusell's

Autobiography (Announced by the Royal Library:

A.I. Arvidsson)

A few biographical notes about myself I have the honor to give here:

I was born in 1775, October 15, in Nystad, Finland. My father was the book¬ binder there, Jacob Crusell, and my moth¬ er was Margareta Elisabeth Messman. Already in my tender childhood I seemed to have shown an extraordinary love for music, but the small town didn't offer any opportunity to either hear or learn music. My parents' poverty prevented them also from being able to give me other educa¬ tion. From my mother I, however, learned to read. When I was 8 years old, I moved with my mother to Nurmjervi county in Nyland. In the neighborhood lived a Cap¬ tain Armfelt, for whom I sometimes ran errands. From his childrens' tutor I bor¬ rowed a guide book, from which I myself learned to write. In the next village there lived a clarinet player, Wester, in Nyland's Regiment. He had a son the same age as I

who had learned to play a couple of pieces from his father but who did not know how to write. Young Wester and I agreed that I would teach him to write, while he would teach me to play his pieces, and within a short time I had managed, on an old clar¬ inet of birch with only two keys, to play not only these pieces, but also all those I could sing. This attracted a certain atten¬ tion and Captain Armfelt, mentioned above, who in January 1788 went to Svea- borg, suggested that I follow him there. We arrived at parade time and after the Captain, who had entered the officer's room to greet his former fellow soldiers, had told me to come in, I grabbed hold of the first clarinet I was given and with fro¬ zen fingers, but with boldness you usually have when you are 12 years old — I have never thereafter, when I performed in pub¬ lic, been less afraid than then — I now played all the pieces I knew. Major O. Wallenstjerna then immediately offered me a position as a volunteer in the Queen Mother's Regiment. I considered myself extremely lucky and Captain Armfelt also agreed, after Wallenstjerna promised that I would be taken care of in his home; this promise he also kept. A short time there¬ after the war with Russia broke out. My new benefactor was ordered with part of the regiment to sea in the Iwar Benlos, and at my urgent request I was allowed to accompany him and took part in several small encounters during that year's naval campaign. During the fall Major Wallen¬ stjerna once again was called in for duty at Sveaborg, and I stayed with him until he, in 1791, was sent to that battalion of the same regiment which was stationed in Stockholm, where, to my great delight, I was allowed to accompany him.

Now a new opportunity arose. From a violinist, Boritz, I learned notes and at the Royal Secretary Fjellman's house, where once a week amateur concerts were per¬ formed, I had a chance to practice small

solo pieces. In 1792 I became manager of the regiment music, not even 17 years old, and the same year was offered a position in the Royal Orchestra by Abbe Vogler, who was especially good to me. The fol¬ lowing year I also accepted a position as first clarinet player at the then Duke's Re¬ gent Band, that position I left, however, after a couple of years.

I began more and more to discover how much artistic education I still lacked, and my warmest wish was to go to Berlin for instruction on my instrument by the, at the time, widely well-known virtuoso, Tausch the master. Fortunately, such an occasion arose when, in the spring of 1798,1 received a free trip to Berlin where I, for seven months, received lessons with Tausch, whom I paid with the proceeds from a con¬ cert I gave in October the same year in Ber¬ lin. After that I left with the famous court singer Hurka from Prussia, also well-known composer and executor, for Hamburg, and there together we gave two concerts, after which I returned to my fatherland.

The following year I married Anna Sofia Klemming. This marriage has been blessed with six children, with three still currently living.

In 1801 I was elected a member of the Royal Musical Academy. In 1803, in the spring, the French minister at the Swedish court at that time, Mr. Bourgoing, a noble and brilliant man, invited me to go with him on a free trip to Paris, where he had been called back. I gratefully accepted the offer, of course, and have every reason to consider this the happiest occasion of my artistic life, because at court secretary Bour- going's house I had an opportunity to get to know several of the most excellent writ¬ ers and artists in France. I now seriously started to study composition, first with Ber- ton and then with Gossec, who in the capacity of inspector of the Music Conservatory had given me permission to


take advantage of lessons during the win¬ ter in this splendid educational institution, even though I was a foreigner. I was also offered a position in the Italian Theater Orchestra as first clarinet player and in the so-called Concert Spirituel. But as my leave of absence was at an end with the month of October, I decided to go to Carlsruhe, where the previous king. Gust. Adolph was at the time, to get permission to return to Paris and stay there until next spring; this, however, was denied. Never¬ theless to alleviate the tough refusal, I was told by the king to let the court hear me in a couple of days, where the Elector of Ba¬ varia and his wife recently had arrived. I was lucky to win approval, and after the concert the old Elector of Baden gave me a very beautiful box made of gold as a gift. I was ordered to hastily return to Stock¬ holm, and as a result my studies in Paris, unfortunately, were cut short.

The following years I was kept busy with compositions during the free mo¬ ments my duties in the orchestra gave me, and in 1811 I made a trip to Leipzig to

agree with a publisher about their printing. In 1818 1 was given the position of mu¬

sic director of both Royal Life-Grenadier Regiments, this position I still have, during a three- to four-month stay in the summer in Linkoping. In 1823 a pension fund for the musicians widow and children was founded with the help of proceeds from concerts, which are given yearly in Sep¬ tember. The capital is, at the present time, about 10,000 rix bank dollars.

In 1822 I went on a trip to Carlsbad together with my friend, professor Ber- zelius. During our stay in Dresden I had the pleasure to daily be together with the well educated composer C.M. von Weber.

In 1833 I resigned from the Royal Orchestra due to weakened health, which ever since my youth had been frail and which mainly had prevented me from being more industrious concerning the art I loved so deeply, and which had formed half my life. I have, however, been fortu¬ nate enough to be able to train several pupils for my instrument — among them

Addner, who for the time being, busy in St. Petersburg, is the most famous.

Stockholm, November 6th, 1837. Bernhard Henrik Crusell

About the Writer...

Brent Coppenbarger teaches woodwinds at both North Greenville College in Tiger- ville. South Carolina, and Erskine College in Due West, SC. He received his Doctor of Musical Arts degree in clarinet performance from the University of Wisconsin-Madison School of Music, where he studied with Glenn Bowen. His former teachers include Clark Brody, Roger Coppenbarger, Russ Dagon, Anita Gariott, Robert Marcellus and Walter Wollwage. Coppenbarger's pub¬ lished compositions have appeared on the Wisconsin School Music Association's solo and ensemble contest list and have received favorable reviews in The Musical Times magazine and The Clarinet. His edition of the Crusell Clarinet Concerto No.l is pub¬ lished by Musica Rara.


by Neville Thomas

It is my pleasure in this report to high¬ light our doyen of single reeds in OZ — Don Burrows. Besides being known

as our best and greatest clarinetist in all fields, Don Burrows is also our Wynton Marsalis, helping and guiding young talent on all instruments throughout all of Aus¬ tralia. Our muso with a mission.

Don Burrows travels widely through¬ out the "outback" of Australia, covering

Don Burrows, A.O., M.B.E.

thousands of kilometers, taking music and the visual arts to children far removed from big city access to such activities. In many of the remote spots the children are entirely self-taught; others receive an oc¬ casional lesson on their instrument over the telephone or radio.

Larger country towns usually have a dedicated teacher or two doing great work

with the school band. Don V studies the geographical lay¬

out of an area and sets up plans to bring children from far-

flung tiny communities into these larger centers for a week of full-scale music ex¬ perience, workshops, clinics and rehear¬ sals. A full-scale concert is held at week's end attended by a very large audience, which comes from far and wide to witness such a special event.

By also displaying an exhibition of his own black-and-white photography, Don en¬ courages the children to participate with him with their own drawings, paintings or photographs.

When Don encounters a child with out¬ standing natural ability, either musically or artistically, he does all he can to aid in the continuation of their studies, and he be¬ comes a contact or conduit for them in the major cities.

Many of the smaller places Don visits, or has the children bussed in from, possess unusual names, including Arkaroola, Ne- pabunna, Wirrealpa, Quorn, Parachilna, Marree, Orroroo, Enngonia, Weilmorin- gle, Woorabinda, Tilba Tilba, Coober Pedy, Andamooka, Wanaanng, Dimboola, Warracknabeal, Croajingalingalong, Gun- dagai, Dunnedoo, Woy Woy and many, many, many more.

Born in Sydney, Don's career has spanned 55 years, having turned profes¬ sional at 14. He has worked in every facet of music: nightclubs, dance halls, jazz clubs, opera houses, theaters, festivals, ships, radio, television, films and teaching — covering every part of Australia and many parts of the world as a concert and recording artist.

Some career highlights:

1960 — Toured New Zealand with the Oscar Peterson Trio.

1962-1964 — Led his own septet on national television.

1963 — Musical director of TV special filmed in Hawaii.

1967 — Represented Australia at EXPO' in Montreal, Canada and took part in the world's first satellite telecast.

1970 — Musical director of Australian contingent to Osaka, Japan.

1971 — First Australian group to win a gold record.

1972 — Awarded M.B.E. in Queen's Birthday Honors List for service to music (the first jazz musician to be so honored).

First Australian to be invited to appear at the Montreux Festival, Switzerland.

First Australian to be invited to Newport Festival (performed in Carnegie Hall).

1973 — Established Australia's first jazz studies program (headed by Howie Smith) at NSW State Conservatorium of Music.

1974 — Won Australian Radio Record Award.

Toured Southeast Asia (Japan, Malaysia, Singapore, Philippines, etc.) for the Department of Foreign Affairs.

1975 — Guest lecturer at National Flute Convention at Indiana University.

1976 — Another Gold Record 1976 — Toured South Korea as musical

director for major TV production. Appeared in concerts and broad¬

casts in New Zealand. Toured outback Australia for

Musica Viva and the ABC. 1977 —Appeared as co-soloist with

Dizzy Gillespie in special concert in Melbourne.

Toured Brazil as guest of Brazilian Government.

Awarded Queen Elizabeth Jubilee Medal for services to music.

First jazz musician to be awarded a Creative Arts Fellowship by the Australian National University.

Toured Australia with Stephane Grappelli and recorded an album with him.

1978 — Toured Egypt, Iraq, France, Italy, Switzerland, Germany and Holland for Department of Foreign Affairs.


Toured far northwest of Australia for Arts Council.

Toured nationally with "The Brazilian Connection" with Octavio Burnier and Claudio Cartier.

1979 — Toured every part of Australia, including Arnhem Land, Groote Eylandt, far west New South Wales, Gippsland and North Queensland for Musica Viva.

Toured Australia with American singer Blossom Dearie.

Toured Australia and recorded with Brazilian guitarist Luiz Bonfa.

1980 — Represented Australia at Jazz Yatra, Bombay, followed by extensive tour of India.

Took over as chairman. Dept. of Jazz Studies at NSW State Conserva- torium of Music.

1981 — Represented Australia at the Hong Kong festival.

1982 — Toured most states of Australia for Musica Viva. Awarded "King of Jazz" trophy in Melbourne.

1983 — First to take a jazz group to appear in concerts in the Peoples' Republic of China.

Regent Hotel (Sydney) named new jazz venue.

"Don Burrows Supper Club" Represented Australia at "8th Festi¬

val of Asian Arts" in Hong Kong. 1984 — Appeared at Perth Festival with

Gismonte and Vasconcelos. Invited to address General Assem¬

bly of International Jazz Federation (UNESCO) in Sweden. During this visit was elected to the board of the International Jazz Federation.

Visited Hungary and Netherlands. Each year since 1982 Don has

hosted his own Jazz Series, "The Burrows Collection," on ABC Television (National).

1985 — Toured extensively throughout Australia with his own group and as guest soloist with top Dutch group. The Chris Hinze Combination. (Perth Festival, Melbourne Festival included).

Appeared on a number of concerts with American jazz star Lee Konitz.

1986 — Appeared with visiting Canadian jazz stars Oliver Jones, Fraser Macpherson, etc.

Fronted a further extended season of "The Burrows Collection."

Voted "Jazz Reed Instrumentalist" for 1986 by Jazz Action Society of NSW. This award was sponsored by Selmer of Paris.

1987 — Honored by the Australian Government and the Queen with the insignia of an Officer in the General Division of the Order of Australia (AO).

Invited to Yugoslavia, Germany, Holland, etc., as player and delegate. April, two concerts in the Sydney Opera House with Sydney Symphony Orchestra.

Don Banks - "Nexus" 1988 — Named as "National Living

Treasure." Major concert for 80,000 people —

"Jazz in the Domain" in Sydney. Toured Europe and Asia with the

"Australian Jazz Orchestra." Toured Australia with own Quintet.

1989 — Toured Australia for Musica Viva. Numerous school workshops

throughout Australia. 1990 — Toured New Zealand. National

Living Treasure Program by the NZ Government.

Conducted school workshops throughout Australia.

National tour for Musica Viva. Released Babinda Trilogy, a major

three-CD set of duets, with string orchestra and quintet.

1991 — Toured New Zealand with the Quartet.

Reeds

Australia

Producers of Quality Reeds Vintage • 'Vintage XL (new!)

Fax: Int +61 8 8333 2108 http://www.reedsaus.com.au

Recommended by leading performers worldwide! Distributed in the USA by: Yamaha Corporation of America Band and Orchestral Division UK Distributor: Leed Representation Fax: Int +44 124 337 8057 email: [email protected]



National tour with the Quintet. Toured Western Australia for

Musica Viva. Toured Queensland for Musica Viva. Started Portland Education

Program. 1992 — Played all major jazz festivals

throughout Australia. Conducted school workshops

throughout Australia. Toured all states of Australia. Toured with the Quartet to Hong

Kong, China, Malaysia, Singapore and the Philippines.

Released a five-CD set of recordings with the ABC, The First 50 Years. Toured Western Australia for Musica Viva.

Concert with Cleo Laine. 1993 — Toured to Cuba.


Toured all states of Australia. Toured to China (Beijing and

Shanghai). Toured Northern New South Wales. Another tour to China. Recorded a CD with Julie Anthony.

1994 — Toured to China for the Shanghai International Jazz Festival.

Toured to Beijing and Hong Kong. Conducted school workshops

throughout Australia. 1995 — Toured all states of Australia.


Toured USA with Pembroke College.

Toured China and Hong Kong. Started National Creative Fellowship

Program. A major five-year project teaching young musicians throughout Australia in disadvantaged areas.

Toured to New Zealand. Photographic exhibitions at selected

galleries throughout Australia. 1996 — Toured to China with the Port¬

land School band. Conducted school workshops

throughout Australia. New "Don Burrows Supper Club"

opened at the Park Royal Manly Pacific.

Photographic exhibitions at selected galleries throughout Australia.

Toured to Victoria, Western Australia, Queensland and Tasmania.

1997 — Conducted school workshops throughout Australia.

Photographic exhibitions at selected galleries throughout Australia.

Toured with the Tasmania Sym¬ phony Orchestra.

A national Capital City tour with the quartet.

Played all major jazz festivals in Australia.

Concert with James Morrison in the Sydney Opera House.

1998 — Named again as a "National Living Treasure" in the Australia Day List.

At Present:

Conducting national school workshops throughout Australia.

Touring Australia. Visiting New Zealand. An overseas tour with the Quartet. A National Tour of Australia for SOCOG

for the Olympic Games Committee.

Some of Don's Recordings:

The Jazz Sounds of the Don Burrows Quartet

Just the Beginning Live at Montreux D.B.Q. at the Sydney Opera House The New Don Burrows Quintet Duo The Tasinan Connection Steph 'n Us (with Stephan Grappelli) Bonfa - Burrows - Brazil This Time Tassie Sara Dane Burrows' Jazz Brothers Burrows at the Winery Jazz at the Opera House Flute Salad (with Chris Hinzej The Babinda Trilogy (A three-CD set

of duos with strings and with quintet) The First 50 Years (A five-CD set of

recordings) Generations, with Portland Secondary

College with Bob Barnard & Nina Ferro Don Burrows Quintet, Recorded live

in Shanghai, China. Julie Anthony and The Don Burrows

Quartet Don Burrows Best, ABC The Brazilian Connection with Octavio

Burnier and Claudio Cartier.

People with whom Don has worked include: Oscar Peterson, Dizzy Gillespie, Buddy Rich, The Sydney String Quartet, Mel Torme, The Carl Pini String Quartet, Frank Sinatra, The Sydney Wind Quintet, Tony Bennett, Cleo Laine, Nat King Cole, Julie Anthony, Johnny Hartman, Bud Shank, Don Costa, Kate Ceberano, The Sydney Symphony Orchestra, Gary Burton, James Morrison, Charlie Byrd, Ronnie Scott, Stephane Grappelli, Claudio Cartier, Bob Barnard, Octavio Burnier, Grace Knight, Buddy DeFranco, The SBS Orchestra, Fiji Kitamura, Paul Grabowski, George Golla, Chris Hinze, Johnny Nicol, Julian Lee and many others.

Don's clarinet is a Buffet R13 (pur¬ chased 1972). His mouthpiece is a very old Meyer t-medium and his reeds are Australian-Vintage, 2 1/2, made by Reeds Australia.

And so until next time. Cheers Hooroo Nev E-mail: <tobrien.bigpond.com>

We Carry NEW & USED:

Selmer Buffet Leblanc

Profesional and Student Clarinets *Other Makes Also Available '"Full Line of Accessories '"Highest Quality BAY Products

Professional Repair & Restoration

Unique Personal Attention

Phone 212-730-1569 7017th Ave. (Entrance on 47th St.), New York, NY 10036


Visit the

iNTERNATIOlNrAL

CLAKnNTET

. Association

on the

World Wide Web:

www.clarinet.org 1

JAZZ COLUMNIST NEEDED The Clarinet is currently seeking someone to cover the jazz clarinet scene. The position's responsibili¬ ties include writing two jazz clarinet-related arti¬ cles each year and reviewing jazz recordings. Appli¬ cants should have a special interest in and knowl¬ edge of jazz and jazz clarinetists, be able to write well, and meet deadlines.

Interested applicants should send a brief resume emphasizing the jazz aspect of their qualifications to:

James Gillespie, Editor The Clarinet

College of Music, University of North Texas Denton, Texas 76203-1367

Fax: 940/565-2002 e-mail: <[email protected]>




Contact: Elena Lence Talley,

I.C.A. Membership Coordinator

P.O. Box 7683, Shawnee Mission, KS 66207-0683

Phone/Fax: (913) 268-3064

WHO DO I CONTACT?

<0- Send all articles, recital programs, orders for back issues, announcements

and any other non-commercial items intended for publication in

The Clarinet to:

James Gillespie, Editor/Publisher

College of Music, University of North Texas • Denton, Texas 76203-136/

Send all inquiries about advertising in The Clarinet to:

Gary Whitman, Advertising Manager

Department of Music, Texas Christian University

P.O. Box 29/500 • Fort Worth, Texas /6129

-v- Send all printed materials (music, books, etc.) intended for review in

The Clarinet to:

Joseph Messenger, Editor of Reviews

Department of Music, Iowa State University • Ames, Iowa 50011

■0- Send all recordings intended for review in The Clarinet to:

William Nichols, Audio Review Editor

School of Music, Northeast Louisiana University

Monroe, Louisiana /1209-0250

❖ Send changes of address, inquiries about I.C.A.. membership, missing

issues, etc., to:

Elena Lence Talley, i.CA Membership Coordinator

P.O. Box 7683 * Shawnee Mission, Kansas 6620/-0683

Tfie Clarinet PUBLICATION SCHEDULE

The magazine is usually mailed during the last week of February, May, July and

November. Delivery time within North America is normally 10—14 days, while airmail delivery time outside North America is 7-10 days.

Third Generation of

DEG AccuBore

Clarinet Tuning Barrels

now available at your local music store.

"These new barrels will improve

any clarinet." - Eddie Daniels

DEG Music Products, Inc. P.O. Box 968 • Lake Geneva, Wl 53147 USA

414-248-8314 • FAX 414-248-7953 • 1-800-558-9416


Compact Disc Reviews

by Annand Ferland

FOURtissimo / The Bremen Clarinet Quartet. Allan Ware, clarinet and E'' clarinet; Martin Kratzsch, clarinet, bass clarinet and basset horn; Christian Dawid, clarinet and bass clarinet; Bar¬ bara Rossler, clarinet and E'' clarinet. Ferenc Farkas: Antique Hungarian Dan¬ ces:; Christian Dawid: Tango ...! and Klezmeriana; J.S. Bach: From the Gold¬ berg Variations (arr. C. Dawid); Paul McCartney: Honey Pie (arr. C. Dawid); and three hit tunes arranged by C. Da¬ wid: Comedian Harmonists. CNS RE¬ CORDS LC 6259. Total time 59:43. (U.S. distributor: Simmons, 310 Farley Place, Fayetteville, NC 28303. Manu¬ facturer address: Zionskirchstrasse 33, 10119 Berlin, Germany)

While woodwind ensembles of all de¬ scriptions began to proliferate in the 18th century, surprisingly it is well into the 1900s that the clarinet quartet came into being. Even today this combination re¬ mains rather unusual except for the many student and amateur groups who perform together in order to gain experience and proficiency on their instruments or for the sheer pleasure of playing music together.

Nevertheless, the clarinet quartet pos¬ sesses the most distinctive sound possibil¬ ities of any woodwind ensemble and is capable of dazzling virtuosity as well as deep musical expression throughout the compass of the modern orchestra. FOUR¬ tissimo well exemplifies what a profes¬ sional clarinet quartet can achieve from musical and technical points of view, and illustrates its capabilities in a great variety of musical styles.

Reviews

The first selection on the disc, Farkas' Antique Hungarian Dances, sounds won¬ derfully well. Indeed, it was a minute or so before this reviewer realized that he was not listening to bona fide Renaissance music, but to a transcription of the well-known 20th-century composition for woodwind quintet performed on four modem clari¬ nets. Very good sound recording, excellent clarinet sound, fine playing!

The instrumental quality is quite constant throughout the recording, and the listener is not aware of the frequent changes players must make from one instrument to another. One of the players does stand out however, for his arrangements: Christian Dawid. Of the six main selections on this disc, five were arranged by him. The remaining sel¬ ection, Farkas' Antique Hungarian Dances, is the only one which was actually written for clarinet quartet by the composer — al¬ beit as the result of an after-thought, the original being scored for woodwind quin¬ tet. Special mention is made of Dawid's writing because of the excellent quality of his work. Whether he is arranging Argen¬ tinian tangos, Baroque or Klezmer music, his work sounds authentic, imaginative, na¬ tural and musically satisfying.

Tango, for example, is actually a suite of five movements taken from five different pieces in the style of "Tango Nuovo." In mood, the movements are worlds apart from each other, but all preserve the characteristic sensuous and expressive style of the tango. This arrangement is one of the highlights of this CD. It sounds so natural with clarinets — a tribute to the players as well — that even a most purist tango lover would proba¬ bly not miss the bandoneon. Not that an imi¬ tation of the bandoneon is here suggested, nor, even less, that it is deemed desirable. As in all successful arrangements and transcrip¬ tions, the essence of the music remains; only the means of communicating the musi¬ cal message differs.

The J.S. Bach transcription comprises nine variations chosen among the 30 Gold¬ berg Variations: three groups of three con¬ trasting variations beginning and ending with the Quodlibet (variation 30). Some of the better moments on this disc are to be found here. The two Canons (at the third and at the seventh) are good examples. Like much of Bach's music, the Goldberg Vari¬ ations transcribe very well. Bach, who also allowed his own compositions to be re- instrumented, would surely nod his agree¬ ment in this case.

Three Klezmer tunes, followed by three hits from European popular music dating back 75 years or so but still providing pleasant listening, and Paul McCartney's Honey Pie complete this astoundingly var¬ ied program for clarinet quartet.

On a single CD such a combination of wildly differing musical styles is not only questionable, but would also seem some¬ what risky if not slightly foolhardy from a purely stylistic viewpoint. Surprisingly all selections, from Bach to McCartney, sound natural and convincing even though there are spots where a less boisterous style (Bach: Fughetta) or more finesse in the phrasing and dynamics (Bach: Variation 22) could be considered.

I hasten to add, however, that if the members of the Bremen Clarinet Quartet wished to show the stylistic possibilities of a modern clarinet quartet, they have emphatically and clearly proven their point. At the same time they have shown their many technical and interpretative qualities, individually and as a group. Many selections require much technical skill as well as intelligent and delicate ensemble playing; all require in-depth practical knowledge of performance prac¬ tices, and much flexibility — mental and physical — to cope successfully with so many diverging styles. The challenge is well met; the entire CD is musically inter¬ esting and performed with conviction, pro¬ fessionalism and humor. This recording is a must for all clarinet quartet lovers.

by Michele Gingras

Street Song — Mike Curtis Klezmer Quartet. Mike Curtis, clarinet, sopra¬ no saxophone and tarogato; Dave Les¬ lie, keyboards and accordion; Dan Scol- lard, electric bass; Dave Storrs, drums. Repertoire: Russian Sher\ Hey Judah;


Troublesome Freyladr, Rumanian Horn, Chusidl, and Bui gar, Kasimierz', Shver un Shviger Tanz\ Alcazaba; Frex lacks fun der Khupe', Kostakowsky Freyladr, Street Song; Kostakowsky Bulgar; A Klezmer Wedding; Bei Mir Bistu Sheitr, Galician Sher/Yikhes. LOUIE RECORDS (no catalog number). Total time 62:22. (distributed by Sher Music /tel. 1-800-444-7437)

Since the klezmer revival movement began in the mid-70s, it's been thriving more than ever with bands sprouting out everywhere, along with klezmer "kamps" and workshops, concerts and CD releases, not to mention the mandatory klezmer dance band at a traditional "bar mitzvah." Clarinetist Mike Curtis and his quartet are veteran "klezmorim" and have been the talk of the Great Northwest for the last 15 years. Klezmer music defines itself as being the folk repertoire of the Yiddish-speaking mu¬ sicians who played for celebrations at wed¬ dings and other life-cycle events for Jewish communities in Europe. In America, klez¬ mer musicians were involved in playing swing and jazz, and consequently there is cross fertilization in the American expres¬ sions of these repertoires in the U.S. Mike Curtis follows this idea of merging the old with the new, mixing the soulful expres¬ siveness of Eastern European folk melodies with the energy of Dixieland jazz and mod¬ em synthesized music.

Street Song starts off with one of the most popular Yiddish dances, Russian Sher or "scissors dance" (like a square dance). Although I prefer a rendition with a little more chutzpa the long clarinet solo has a charm of its own. Hey Judah is one of the many compositions by Mike Curtis on this album. It features the clarinet on a wonderful tune in three beats interspersed

with slower sections. I'm assuming this version is intended for the concert stage because of these cadenza-like sections which preclude dancing.

Pianist/accordionist Dave Leslie also contributes several compositions such as the lively Troublesome Freylach (trouble¬ some happy song). The meditative Ruman¬ ian Hora gives away to a Chusidl and a faster Bulgar. It is played on the tarogato (a Hungarian wooden conical single-reed in¬ strument). I was surprised to hear how sim¬ ilar the sounds of the tarogato and soprano saxophone came out on the recording. Ka¬ simierz, composed by Dave Leslie features the accordion, one of my favorite mediums for klezmer music. A poignant tune, played with smooth angst. Shver un Shviger Tanz, is the kind of piece that inevitably gets you on your feet and lifts your heart and spirit. Mike Curtis plays gently, with a sweet sound and clear articulation. His ornamen¬ tation is sparse, letting the melody take front stage. Alcazaba, written by Curtis and Leslie, blends the Sephardic and Spanish sounds. The use of an electric bass and pi¬ ano gives it a Chick Corea feel and defi¬ nitely modernizes the sound to the point of departing from klezmer if only for a mo¬ ment. The same can be said for Freylachs fun der Khupe, a traditional tune played in the style of funk, jazz and everything in between. Kostakowsky Freylach (Mr. Kos¬ takowsky's happy song) returns to the tra¬ ditional style of dance music and features Curtis on the soprano saxophone.

The album's title song. Street Song, is in a traditional Hora rhythm, a dance in three, where the second beat is slightly displaced in comparison to the waltz. Its original Yid¬ dish title, Des Gasn Nign, is a popular wed¬ ding processional. Kostakowsky Bulgar is an uplifting polka-like dance featuring Cur¬ tis on saxophone. At nearly seven minutes, Curtis' A Klezmer Wedding is the longest piece on the recording. In a typical medley klezmer style, it starts with an improvi¬ satory slow meditation usually called a Doyna, shifts to a three-beat dance, fol¬ lowed by various two-beat dances. Curtis is at his best here and we finally get to hear him krecht (a moan or soar imitating the Cantor's voice in prayer). Bei Mir Bistu Shein (You are Beautiful) is a favorite Yid¬ dish tune where Curtis slips into his jazz¬ man's outfit and trades improv solos with pianist Dave Leslie, ending in a fade out.

The last selection, Galician Sher/Yikhes, typically shifts from a slow to a fast tune, with Curtis' quartet mixing the ethnic and modem styles back and forth.

Klezmer enthusiasts come in many shapes and forms. Some prefer to recapture the traditional sounds of the early "master- klezmorim," such as Tarras and Brand- wein, while others choose to experiment, mixing the old and the new, and still others take klezmer into the 21 st century to roads yet unpaved. Street Song is a mix of all the above, plus more.

by Edwin Riley

Recital for Two Clarinets and Piano — Pieces of Italian Composers. Luigi Magistrelli, clarinets and basset horn; Laura Magistrelli, clarinet; Sumiko Hojo, piano. Gregorio Sciroli: Sonata for clar¬ inet and basso contimw, Gaetano Don¬ izetti: Studio for clarinet alone', Giu¬ seppe Donizetti: Sonata for two clar¬ inets', Amilcare Ponchielli: II Convegno for two clarinets and piano', Nino Rota: Sonata for clarinet and piano, and Five Pieces for clarinet and piano\ Ferruc- cio Busoni: Andante con motofor clar¬ inet andpiamr, Riccardo Dionisi: Mono- dia for clarinet alone', Stefano Laz- zoni: Aforismi for clarinet alone. PON- GO CLASSICA PCD 2021. Total time 70:32. (no U.S. distributor located / Pongo Edizione Musicale, Milano- Parigi, Italy. Tel. 0331-833019)

Recital for 2 clarinets and piano Pieces of Italian composers

J2uigi and J2aura Magistrelli, clarinets Sumiko cHojo, piano

<3ciroli ^Donizetii - Ponchielli - c7io{a ■ cbasoni - Zionist - J^ozzoni

This CD is a most unusual presentation of three works for clarinet alone by Gaetano Donizetti, Dionisi and Lazzoni; four works for clarinet and piano, one by Sciroli, two by Rota, and one by Busoni; one duet for clarinets by Giuseppe Don¬ izetti; and one duet for two clarinets and


piano by Ponchielli. The Five Pieces of Rota and the Busoni piece are for clarinet in C. Additionally Aforismi by Lazzoni is in three movements with each movement for a different clarinet: basset horn, A clarinet and B'' clarinet.

Gregorio Sciroli (1733-1781) is the ear¬ liest of these Italian composers; Gaetano Donizetti (1797-1848) is the most famous, a well-known opera composer. Giuseppe Donizetti (1802-1856) was his younger brother. Amilcare Ponchielli is also known as an opera composer and teacher of Puccini and Mascagni. Nino Rota (1911-1979) was a film composer associated with Fellini. Ferruccio Busoni (1866-1924) was a high¬ ly regarded composer, theorist, teacher and pianist, and known to clarinetists for his Concertino. Riccardo Dionisi (b. 1918) taught composition at the Milan Conserva¬ tory, and Stefano Lazzoni (b. 1960) was one of his students.

This is definitely an album which breaks new ground in many ways. Most of the pieces are recorded here for the first time, and it includes many works which deserve to be included in the standard repertoire.

Probably the best-known work on this recital album is II Convegno, a three- movement show piece for two clarinets and piano in operatic style, by Ponchielli. It requires virtuoso playing by both clar¬ inetists, and Luigi and Laura Magistrelli match each other beautifully in sound, technique and intonation. The perfor¬ mance of this piece alone is worth buying this album. The ensemble with pianist Sumiko Hojo is excellent.

The most impressive new work on the disc is the three-movement Sonata by Nino Rota. Rota's style is romantic and full of striking melodic invention without sounding dated. Luigi Magistrelli's and Sumiko Hojo's playing is especially lyri¬ cal and expressive, and this performance is one of the highlights of the album. Also impressive is the Studio for clarinet alone by Gaetano Donizetti (the famous one). This is one of the most impressive early unaccompanied works that this reviewer has heard, and the virtuoso performance by Laura Magistrelli is very exciting.

The other works for clarinet and piano besides Rota's Sonata include the three- movement Sonata by G. Sciroli. It is only recently published by Schott, and it is one of a very few early clarinet sonatas by an

Italian composer. The slow movement is aria-like and especially beautiful. The Five Pieces by Rota was originally written for flute and transcribed here by Luigi Ma¬ gistrelli for C clarinet. Mr. Magistrelli's playing on a C clarinet (Zalud Theresine- Mueller system) is especially mellow, and these character pieces are exceptionally effective with the supporting playing of Sumiko Hojo.

The three-movement Sonata for two clarinets by Giuseppe Donizetti is again a virtuoso work for both parts. The playing by both Magistrellis is outstanding. The An¬ dante con moto for C clarinet by Busoni is a delightful lyrical short piece which once again shows off Mr. Magistrelli's beautiful C clarinet playing. The Monodia for clarinet alone by Riccardo Dionisi is played by Laura Magistrelli, and her playing is very expressive and technically flawless. The last piece on the album, Aforismi by Stefano Lazzoni is a serial composition for unac¬ companied clarinet with each of its three movements based on a portion of Mozart's Requiem. Also, each movement is for a dif¬ ferent clarinet: basset horn, A clarinet and B'' clarinet. Luigi Magistrelli plays very effec¬ tively, but this is the least accessible compo¬ sition on initial hearings. It helps to listen to the section of the Requiem first and then to the movement for clarinet alone.

The instruments are recorded very well overall. The clarinet sound and piano sound are very neutral, although there is more re¬ verberation on the recording of both Don¬ izetti pieces and the Monodia of Dionisi. Still, the overall ambiance is very pleasing and not distracting to the musical effect.

This is truly an outstanding album. All of the performers, Luigi and Laura Magis¬ trelli and Sumiko Hojo, play on a virtuoso level and with exceptional ensemble preci¬ sion and intonation. Most of all they make wonderful music together. I recommend this album very highly to all clarinetists, especially those who want to hear Italian repertoire played in a bel canto style.

by Gregory Barrett

Domino. Roslyn Dunlop, clarinets; David Howie, piano. Riccardo Formosa: Dom¬ ino; Gerard Brophy: Twist, Harrison Birtwistle: Verses; Dulcie Holland: Dia¬ logue /, Dialogue //, and Ballade', David Sandstrom: Close to... ; Alan Hovha-

ness: Night of a White Cat, Henrique Raxach: Chimaenv, Gerald Glynn: Whir¬ ligig and Gorlywhorl. HEL MUSIC 001. Total time 56:23. (available from Dom Publications, Medfield, MA and Luyben Music, Kansas City, MO in the U.S. / Crowthers Woodwind, 10 Long- port, Canterbury CT1 PE, England / The Australian Music Centre, PO N690 Grosvenor PL NSW 1220)

€l€$©g$©@

darineU. SVimrf Slomie.

Quick — think of a big orchestral piece with a solo for E'' clarinet. Berlioz' Sym- phonie fantastique will do. Then think of a composer, Italian by birth now living in Australia, who wrote a solo piece for E'' clarinet and dedicated it to Italian clarinet virtuoso Ciro Scarponi. That would be Riccardo Formosa, composer of this al¬ bum's title piece Domino. And what does Domino have to do with Berlioz' "Wit¬ ches' sabbath" movement? The answer lies in the references to Berlioz' famous E^ solo in Domino. At times you can pick out the outline of Berlioz' melody and all the time you hear frenetic trills and grace notes played in a long-short trochaic rhy¬ thm pattern as in Berlioz' well-known solo. Check your dictionary and you will find that a domino is also a mask, and that is exactly what Formosa did to Berlioz' mel¬ ody in Domino. Domino is brilliantly played by Australian Roslyn Dunlop in her first solo CD.

This combination of elements, an Ital¬ ian/Australian composer writing a virtu¬ oso piece for a European clarinetist, is rep¬ resentative of the formula for this wide- ranging CD. Four Australian composers are represented, three of whom studied with major Europeans, including Kagel, Dona- toni and Messiaen. The other four com¬ posers live in Britain, Sweden, the United States and The Netherlands. Dedicatees of


the recorded works include clarinet luminaries Alan Hacker, Kjell-Inge Stevensson, Mats Persson, the Klarinettenduo Koln of David Smyers and Beate Zelinsky, Harry Sparnaay and the above-mentioned Scarponi.

Ms. Dunlop plays EK BK A and bass clarinets. Four of the selections are unaccompanied, one is with tape and the remain¬ ing six are with piano played by David Howie, a member of the accompaniment staff of the Sydney Conservatorium of Music where Ms. Dunlop is a lecturer. The connection to Berlioz is not the only relation masked in this CD. Australian Gerard Brophy's Twist for solo bass clarinet is an appealing work that concentrates on a concise rhythmic motive through repetition with interjected roulades that recall Stravinsky's bass clarinet in The Rite of Spring. Australian-born Gerald Glynn is a former student of Messiaen and now lives in Paris. His virtuosic and rhapsodic Whirligig for solo B^ clarinet inconspicuously quotes the descending large intervals found in Messiaen's Abtmme des oiseaux. Glynn's companion piece Gorlywhorl for solo A clarinet is slower moving.

The remaining Australian composer, Dulcie Holland, is known in Australia for her music theory and harmony textbooks. Her three pieces on this CD are the most conservative and con¬ trast strangely with the other repertoire. These pleasant pieces would be ideal for students or to fill a specific niche on a pro¬ fessional program, but on this CD they seem out of place com¬ pared to the contemporary fireworks of Formosa, Brophy and Glynn that surround them. Ms. Dunlop plays Holland's pieces with conviction and a supported sound that unfortunately suffers in quality and pitch when she tries to push her reed too far.

The modernist vein is also represented with Henrique Rax- ach's Chimaera for bass clarinet and tape. The mythological fire-breathing monster is represented here with a thick wall of sustained low pitches on the tape that act as a background for the bass clarinet to grow and at times from which to growl. Ms. Dunlop's bass clarinet playing is wonderful as she handles all of the necessary altissimo, multiphonic and slap tongue tech¬ niques required. At nine minutes, this is the longest piece on the CD and through the tape's slow-moving changes has a hyp¬ notic effect. I will not reveal what is the surprise ending to this piece. You must hear it for yourself!

Harrison Birtwistle is well-known as a composer but did you know he used to play the clarinet? His Verses, from 1965, were composed for Alan Hacker and to this open-minded lis¬ tener proved a challenge. The eight miniature movements that comprise Verses are introspective and without much contrast or movement. Some may find this music restful or intriguing, but I found it austere and unmoving. The remaining two works, Alan Hovhaness' Night of a White Cat and Sven-David Sand- strom's Close to..., while meditative, have a more appealing sound world. Hovhaness' work for clarinet and piano blends his gift for long melodic line with the exotic sound of a game- Ian suggested by the piano. Sandstrom's Close to ..., also for clarinet and piano, uses the piano as a pitch collector and res¬ onator as the keys of its lowest two octaves are held in a depressed position for the duration of the work. This effect is clearly heard on the CD. Ms. Dunlop and pianist David Howie integrate their parts extremely well, though I wished for greater sensitivity to intonation from Ms. Dunlop.

We Can

Make Such

For The Most Discriminating Clarinetists...

Select from five beautiful precision-ground facings.

• P-close tip-long curve, use #41/2 or heavy reeds • P34-close tip-shorter curve, use #4 or #41/2 reeds • #2-medium close, use #4 or #3/2 reeds • #3-niedium, use #31/2 or #3 reeds • #4-open, for jazz player or doubler

Mouthpiece available in A440 and A442

Telephone/Fax (609) 667-0837

. r/l.M. Gmliotti Inc.

P.O. Box 8387 • Cherry Hill, NJ 08002-0387


This CD contains some pieces that are winners: Twist, Close to ..., Night of a White Cat, Chimaera, Whirligig, Gorly- whorl and Domino. The Birtwistle may be for some tastes and the Holland works are pleasant alternatives to standard recital fare. Ms. Dunlop is at her best on the bass and El' clarinets, and in the most technically demanding repertoire such as Whirligig and Domino. The recorded sound is fine, though the ambiance of the recorded sound changes with the varying instrumentation and repertoire.

by Randy Salman

Comin' Atcha. Terry Harrington, clarinet, tenor sax, vibes, guitar, piano, bass and drums; George Gaffney or Bill Cunliff, piano; Tom Warrington, bass; John Perett or Paul Kreibich or Bob Leatherbarrow, drums; John Chiodini, guitar; Jim Fox, acoustic guitar; George Bohanon, trom¬ bone. C. Walton: Bolivia; Ranger/Robin: If I Should Lose You; Bernie/Pink- ard/Casey: Sweet Georgia Brown; C. Walton: Midnight Waltz; T. Harrington: Walkin' de Rail; C. Jobim: Chega de

Saudade; Carey/Fisher: You 've Changed; Cahn/Styne: It's You or No One!; J. Man- del: El Cajon; A. Clausen: Good Bud¬ dies; T. Peterson: Not Without You; Weill/ Anderson: Lover Man; B. Goodman: Rachel's Dream. MILAGRO 867-530-9. Total time 69:56. (available from Milagro Records, 5058 Princess Anne Road, La Canana Flintridge, CA 91011)

Terry Harrington, a native of Detroit, has built a solid track record as a studio musician in the highly competitive L.A. environment, having been nominated three consecutive years as most valuable

woodwind doubler by his peers in the National Academy of Recording Arts and Sciences. Terry's amazing virtuosity on vibes, guitar, piano, bass and drums is showcased on It's You or No One, the Benny Goodman classic Rachel's Dream and his tribute to Alf Clausan, Benny Goodman and Buddy DeFranco, Good Bud¬ dies. As impressive as these sequenced tracks are, it is the clarinet and tenor play¬ ing that really shine. An alumnus of numerous big bands (Count Basie, Louis Bellson, Buddy Rich, Bill Holman Doc Severinson and Quincy Jones), Terry has also worked with many of the great enter¬ tainers including Sinatra, Peggy Lee, Sarah Vaughn, Bennett, Torme and Strei¬ sand. His tenor playing, reflecting both his Detroit roots and acknowledged early influences Sonny Rollins, Cannonball Ad- derley and Phil Woods, reminds me at times of Pete Christlieb. This funky, blues-dri¬ ven playing is heard to advantage on the swinging renditions of Cedar Walton's Bolivia, Sweet Georgia Brown and Terry's original, Walkin' da Rail. Nice contrast is offered on the sensitive reading of the bal¬ lad You've Changed.

And you thought our selection and service were

For the world's largest

selection of woodwind instruments and accessories, ready

for immediate delivery.... Call us today for special prices or a free catalog.

We perform...so you can perform!

OUR PRICES

ARE MAGIC TOO!

TOLL FREE l»800»348»5003

%Wt0ODWIM

LOCAL l*219*272*8266

the Woodwind & the Brasswind 19880 State Line Rd. South Bend, IN 46637


Mr. Harrington considers his main in¬ strument to be clarinet, and it is easy to understand why. He learned the instrument at age 11, studying with Jack Teagarden alumnus Leo Marchioni, and then later with Albert Luconi, who had been princi¬ pal clarinetist with Toscanini in the NBC Symphony. He displays a very warm, flex¬ ible sound that is consistent throughout the entire range of the instrument, with impec¬ cable intonation. He contributes fine musi¬ cal statements throughout this excellent recording. Particularly noteworthy are his performances on the standards It's You or No One and If I Should Lose You, along with the Jobim Bossa Nova Chega de Sau- dade. A highlight of the CD is his gorgeous interpretation of Lover Man. One can hear the influence of modem players like Eddie Daniels in Terry's concept; however, it is certainly no mere imitation. As a clarinet¬ ist, he offers us an original musical voice that is both passionate and precise. All par¬ ticipants contribute admirable solo state¬ ments, with particular honors to longtime Sarah Vaughn accompanist George Gaffney.

Sharing frontline duties with Terry is trombonist George Bohanon. Bohanon's subtle performance on You've Changed, along with his Ellingtonish harmonization with Terry's clarinet on Cedar Walton's Midnight Waltz offer but two examples of his splendid musicianship. The rhythm sections provide solid support throughout this highly recommended recording. There is something here for everyone. Repro¬ duction is excellent.

Correction: On page 78 (last line on the page) in the May/June 1998 issue (Vol. 25, No. 3), an incorrect address was indicated for ordering Ramon Ki- reilis' compact disc, American Clar¬ inet. The correct address should have appeared as Castle Rock, CO (not CA) 80104-9578. We regret the typo. Ed.

The Virtual Accompanist

Ready, willing, and able to rehearse when YOU want to! • Piano Accompaniments for Solos from the Standard Repertoire

• All works performed from standard editions • Available in MIDI file or audio cassette format

• Makes practicing more productive and enjoyable

NOW AVAILABLE AS MIDI FILES!

SEND FOR OUR FREE CATALOG!

John DeWitt Music 20 Nevinwood Place, Huntington Station, NY 11746 USA

Phone/FAX 516.271.5742 http://www.netcom.com/~dewmusic

Carry It All In One Bag!

Cany your instrument, music and accessories in this very durable cordura nylon bag. The inside is lined with sheepskin to protect your clarinet. A large music compartment will hold orchestra folder, oversized music, even a folding music stand. Also has removable shoulder strap. Available in black, gray, burgundy and navy.

Bt> Clarinet Bag $72 B'-ZA Clarinet Bag $85

(+4.95 for shipping)

MasterCard & Visa Accepted

Olathe Band Instrument 13260 Lakeshore • Olathe, Kansas 66061

FAX (913) 764-5967 • Phone (913) 764-4159

World Wide Web:

www.clarinet.org

FINE WIND INSTRUMENTS

NEW, bus also USED and VINTAGE:

restored in our workshops to

"better than new" condition.

WICHITA BAND INSTRUMENT CO.

2525 East Douglas Avenue

Wichita, Kansas 76211

(800) 835-3006

(316) 684-0291

FAX: (316) 684-6858

E-Mail: [email protected]

UP-TO-DATE CATALOG OF EVERYTHING

NOW AVAILABLE ON OUR WEB SITE:

www.wichitaband.conn


RECITALS M CONCERTS

Student...

The After Hours Clarinet Choir, Steve Prescott, director, Edwin Riley, guest solo¬ ist, Indiana State University, April 9, 1998. Passacaglia, Gee; Concertino for Clarinet, Tartini/Jacob; Toccata and Fugue in D Mi¬ nor, Bach (trans. Curry)

Kyle Bedford and Robyn Srejma, clari¬ nets, Duo Student Recital, Oklahoma City University, March 24, 1998. Bouree for Wind Quintet, Colomer; Sonata for Clar¬ inet and Piano, Bernstein; Dance Preludes, Lutoslawski; Introduction, Theme and Var¬ iations, Rossini; Sonata for Clarinet and Piano, Hindemith; Concertpiece No. 2, Op. 114, Mendelssohn

Sally Braun, clarinet, Senior Recital, University of Nebraska-Lincoln, April 5, 1998. Five Bagatelles, Op. 23, Finzi; Etudes to Spring for Clarinet Solo, Solomon/Dwor- kin; Seeks homertante duos fitr Klarinette und Fagott, Op. 8, Gebauer; Sonata, Bern¬ stein

Erica Corwin, clarinet. Senior Recital, University of Nebraska-Lincoln, March 10, 1998. Introduction und Variationen, Op. 128, Kalliwoda; Phantasiestucke, Op. 73, Schumann; Three Etudes on Themes of Gershwin, Harvey; Andante et Allegro, Chausson

Jessie Coyle, clarinet. Senior Perfor¬ mance Recital, State University of New York, Fredonia School of Music, March 15, 1998. Sonata, Poulenc; Phantasiestucke, Op. 73, Schumann; Ahime des Oiseaux, Messiaen; Grand Duo Concertant, Op. 48, Weber

Jennifer A. Davis, clarinet. Senior Re¬ cital, Georgia Southern University, April 26, 1998. Sonatina for Clarinet and Piano, Martinu; Three Pieces for Solo Clarinet, Stravinsky; Duo for Flute and Clarinet, Szalowski; Concerto No. 1 in F Minor, Op. 73, Weber

Jeni Gossard, clarinet. Shared Sopho¬ more Recital, University of Nebraska- Lincoln, March 31, 1998. Sonata in fJ*, Op. 120, No. 2, Brahms; Rhapsody, Osbome

Michelle R. Hall, Master's Recital, Uni¬ versity of Nebraska-Lincoln, March 12, 1998. Concerto in 1^, Stamitz; Sonata, Stan¬ ford; Sonatine, Honegger; Acht Stiicke, Op. 83, Bruch

Heather Jean, clarinet. Master's Reci¬ tal, Ohio University, May 31, 1998. Three Pieces, Stravinsky; Concerto, Copland; Son¬ ata, Poulenc; Der Hirt auf dem Felsen, Schubert; Deux Preludes, Husa

Andrea Leising-Bitunjac, clarinet. Senior Recital, University of Nebraska- Lincoln, April 9, 1998. Concerto, Finzi; Pocket-Size Sonata No. 2, Templeton; Vo¬ calise, Rachmaninoff/Drucker; Variations sur un Air du Pays d'Oc, Cahuzac

Midwest ClariFest, University of Ne¬ braska-Lincoln, Studio Recital (Todd Alva, Sally Braun, Erica Corwin, Jeni Gossard, Michelle Hall, Andrea Leising-Bitunjac and Wendy O'Dell, clarinetists), March 13, 1998. Sonata, Hindemith; Rhapsody for Solo Clarinet, Osbome; Pocket Size Sonata No. 2, Templeton; Pastoral, Bliss; Etudes to Spring, Solomon/Dworkin; Sonatine, Ho¬ negger; Konzertstiicke, Op. 114, No. 2, Mendelssohn

Midwest ClariFest Potpourri Recital, University of Nebraska-Lincoln, March 13, 1998, Todd Alva, Teresa Bengtson, Sally Braun, Erica Corwin, Jeni Gossard, Michelle Hall, Erin Hill, Greg Huchko, Andrea Leising-Bitunjac, Wendy O'Dell, Tammy Rix, Alethea Vrotsos, Dan Wilson and Alaina Wood, UNL clarinetists with festival participants with Diane Cawein, clarinet choir conductor. Trio, Khacha- turian; Acht Stiicke, Op. 83, Bruch; PraIn¬ dium, Corelli/Skomicka; Prelude and Fu- guette, Frank; Tarantella, Op. 102, No. 3, Mendelssohn/Webb; Fugue No. IV from The Art of Fugue, Bach/McKay; Stars and Stripes Forever, Sousa/Holcombe

Diana Sauer, clarinet. Junior Perfor¬ mer's Certificate Recital, State University of New York, Fredonia School of Music, February 20, 1998. Five Bagatelles, Finzi; Corker for Clarinet and Percussion, Lar- sen; Grafor Clarinet Alone, Carter; Sonata in fJ*, Op. 120, No. 2, Brahms

Christine Sharpe, clarinet, Master's Re¬ cital, Oklahoma City University, April 5, 1998. Canzonetta, Op. 19, Pierne; Time Pieces, Muczynski; Rhapsody for Clari¬ net, Osborne; Trio in K. 498, Mozart

Lacey Stokes, clarinet, and Amie Schu- ler, clarinet. Junior Recital, Ohio Unive¬ rsity, May 17, 1998. Sonata, Hindemith; Concerto No. 1 in F Minor, Weber; Three

Etudes on Themes of Gershwin, Harvey; Dance Preludes, Lutoslawski; Konzertstiick No. 2, Op. 114, Mendelssohn

Kristi Waiste, clarinet. Student Recital, University of Alaska, February 19, 1998. Concerto, Englund; Contemplation for Clarinet and Piano, Menendez; Sonatina for Clarinet and Piano, Op. 29, Arnold

Faculty and Professional...

Christopher Ayer, clarinet. Eastern New Mexico University, March 3, 1998. Dance Preludes, Lutoslawski; For an Actor: Mon¬ ologue, Ran; Sonata in F Minor, Op. 120, No. 1, Brahms; Sonata, Saint-Saens; Son¬ atina, Arnold

Diane Cawein, clarinet. Midwest Clari¬ net Society, January 17, 1998; Ohio Uni¬ versity, February 20, 1998; Midwest Clari¬ Fest, University of Nebraska-Lincoln, March 13, 1998. Denneriana, Bloch; Son¬ ata, Poulenc; Morceau de salon. Op. 229, Kalliwoda; AI hum leaf Reger; Three Etudes on Themes of Gershwin, Harvey; Dante Dances, Welcher

Linda A. Cionitti, clarinet, Florida State University, March 23, 1998; Georgia South- em University, March 15, 1998. Sonata for Clarinet and Piano, Op. 129, Stanford; Dance Preludes, Lutoslawski; Views of the Blues, Lewin (assisted by Frank Kowalski, FSU and E. Claire Allman, GSU); Sere¬ nade, Reed; HEXAD, Steinberg; Kalei¬ doscope, Fry

East Trio (James East, clarinet, Alexan¬ der East, cello, Phyllis East, piano). Mid¬ west Clarinet Society, University of Mis¬ souri Kansas City, February 22, 1998. Three Pieces, Op. 83, Bruch; Fantasy Trio, Muc¬ zynski; Trio, Op. 114, Brahms

Patricia Kostek, clarinet & Mario Es¬ trada, clarinet, Sarasota Music Archive, "Music Nearly Lost," Sarasota, Florida, April 9, 1998. Divertimento for Wind Oc¬ tet, Klein

Esther Lamneck, clarinet. New York Uni¬ versity, April 14, 1998. Six Sound Sculp¬ tures for clarinet and piano (premiere), (David) Bernstein; Bells of Sarajevo for clar¬ inet and piano (premiere), Schonthal; Life¬ lines for clarinet and tape (premiere), Moss; Sound Etchings for clarinet solo (pre¬ miere), Ghezzo; Three American Pieces, Foss (trans.)


University of Montevallo Faculty Wood¬ wind Quintet, Lori Ardovino, clarinet, March 23, 1998. Blaserquintett g-moll, Danzi; Quintet, Piston; Dix-sept Varia¬ tions, Damase

Moran Woodwind Quintet, Diane Ca- wein, clarinet, University of Nebraska- Lincoln, March 17, 1998. Trois pieces breves, Ibert; Quintet for Winds, Harbison; Kinderspielzeug, Op. 64, Blumer; Missis¬ sippi Five, Parker

Horst Prentki, clarinet. Lecture Recital, Steglitz/Berlin, Germany, March 7, 1998. Sonata in Vanhal; Sonatine, Martinu; In¬ troduction and Variations, Op. 8, David; Im¬ provisation, Templeton; Two Tango Etudes for Clarinet Solo, Piazzolla; Para, Chow, Prentki. Ibero-Amerikanisches Institut Preussischer Kulturbesitz, Berlin, Ger¬ many, February 17, 1998. Lluvia de estrel- la. Tango, Maderna; Clarinet Tango, Pan- sera; Palomita blanca, Vals chollo, Aieta; Taquito mi I i tar, Milonga, Mores; Para, Choro, Prentki; Flor de lino, Vals criollo, Stamponi; 2 Estudios tanguisticos, Piaz¬ zolla

Rebecca Rischin, clarinet, Ohio Uni¬ versity, January 27, 1998. Visiting Artist Re¬ cital, University of Nebraska-Lincoln, Feb¬

ruary 8, 1998. One of a Kind, Phillips; Son¬ ata in F Minor, Op. 120, No. 1, Brahms; Peregi Verbunk, Weiner; Sonata, Bern¬ stein; Konzertstiick No. 2, Op. 114, Men¬ delssohn

Luis Rossi, clarinet, master class and recital. La Rioja, Spain, March 5, 1998. Grand Duo Concertante, Weber; Sara- bande. Theme and Variations, Hahn; Tango Etude No. 3, Piazzolla; Soloneiron, Gandini; Sonata, Poulenc. Master class and performance, Colchester, England Sin¬ gle Reed Festival, March 15, 1998. Solo¬ neiron, Gandini; Cancum del campo. Si¬ erra. Master class and recital, Simon Bo¬ livar Conservatory, Caracas, Venezuela, March 21, 1998. Sonata in d. Op. 120, No. 2, Brahms; Tango Etude No. 3, Piazzolla; Soloneiron, Gandini; Sonata, Poulenc. Master class and recital, Cartago, Costa Rica, December 17, 1997. Sonata, Poulenc; Sarabande, Theme and Variations, Hahn; Tango Etude No. 3, Piazzolla; Soloneiron, Gandini; Pocket Size Sonata No. 2, Tem¬ pleton; Variations, Velazquez. San Telmo, Buenos Aires, November 17, 1997. Adagio in F Major, Mozart; Grand Duo Concer¬ tante, Weber; Dance Preludes, Lutoslaw- ski; Soloneiron, Gandini; Sonata, Op. 23,

Madsen. With Buenos Aires Quartet, Teatro Oriente, Chile, October 31, 1997. Quintet, Brahms. Soloist with the Chile Chamber Orchestra, Las Condes, Santiago, October 7, 1997. Chalumeau Concerto (D clarinet), Fasch

Programs intended for publication in The Clarinet should be sent to the Editor. To ensure accurate program information, please send a printed program and a sum¬ mary of pertinent data (names of perform¬ ers and composers, site, date and titles of works, etc.) in the format above.




Contact; Elena Lence Talley, I.C.A. Membership

Coordinator P.O. Box 7683, Shawnee Mission, KS 66207-0683

Phone/Fax: (913) 268-3064

The BG Revelation ligature is simply the best! It provides the clarity and response of metal ligatures avoiding thinning and shrillness of sound, and the warmth and flexibility of material ligatures without stuffiness or lack of center. BG gives you the best of both worlds!" - Ricardo Morales - Principal Clarinet of the

New York Metropolitan Opera Orchestra

FRANCE

"When Details Make the Difference"

The BG product line features high quality

ligatures, straps, swabs and accessories.

Try a BG product today.

You'll be pleased with the results.

Available at fine music stores or contact: Rousseau Music Products, Inc.

P.O. Box 651 Bloomington, IN 47402 Telephone: (812) 333-0572 Fax: (812) 332-2555


resicfent^s (JlCessaqe

by Alan E. Stanek

It doesn't seem possible that almost two years have passed since I wrote my first President's Message. At that

time I attempted to recall all the special people that were responsible for making our association the great institution it has become. Members were notified that at the end of my term as president we would cele¬ brate the 25th anniversary of our organ¬ ization and the 100th issue of The Clarinet. Little did I realize that so many good things would bring us to this point in our history. I want to personally thank Gerry Errante for paving the way for such a smooth transition and his excellent help the past two years as past-president. Working with the other elected officers, Robert Spring, president¬ elect, Maurita Mead, secretary and Julie DeRoche, treasurer, has been a pleasure. As an association we have accomplished much from the agendas of past presidents and boards, including many new projects and planning for the future. My goals for the association were to:

• begin the process of getting the I.CA. Score Collection Catalogue online elec¬ tronically;

• increase our membership each year with a goal of 4,000 members by the end of 1998;

• continue the excellent projects of past presidents and the association mem¬ bers, namely, the Young Artist Compe¬ tition, the High School Competition, the Composition Competition, the new Orchestral Auditions Competition, the Poster and Paper Presentation Competi¬ tion, and the CD Project(s);

• add new members to our excellent list of national chairpersons;

• encourage the affiliation of more re¬ gional and national clarinet societies, and promote more international clarinet festivals;

• enlist the membership to assist in the future development of our organization;

• establish a mechanism to honor individ¬ uals for lifetime achievements on behalf of the clarinet and music;

• establish an endowment or structure the budget in such a manner as to have the financial resources to enhance existing projects and begin new ones;

• and finally, have a good time doing everything.

Our progress to date on these goals is quite impressive. Stan Geidel, Webmaster of the I.C. A. Home Page <www.clarinet. org>, has created a new means of com¬ munication with members and many new potential members by producing an inter¬ net presence visited by thousands. Ad¬ ditionally, because of his excellent idea of an Electronic Newsletter, over a thousand folks get announcements and highlights from each issue of The Clarinet simply by signing up online.

Negotiations continue with the library staff at the University of Maryland that houses the I.C.A. Research Center Col¬ lection. Transforming the database format that would be used for a print catalog into an online web-searchable document is tak¬ ing more time than we or they anticipated. A much less expensive print copy of the complete catalog may be available in the near future. Bonnie Jo Dopp, Curator of Special Collections in Performing Arts, writes to remind us "that the I.C.A. Score Collection is in active use and keeps us very busy both with mail patrons and in- person researchers."

Membership Growth

Elena Lence Talley, our membership coordinator, has done a superb job of re¬ taining members through her repeat mail¬ ings to those who misplace or forget to renew their memberships. While this task

might seem mundane to some, I can re¬ member the difficulties I experienced keeping track of student members not us¬ ing permanent addresses, members mov¬ ing without sending new addresses, etc. Having an outstanding publication. The Clarinet, doesn't hurt either. We will en¬ roll our 4,000th member most likely be¬ tween now and the time you receive this issue. This is due in part as a result of the Board of Director's enforcement of a new policy of allowing only I.C.A. members attendance at the annual conference (an additional registration fee covers mem¬ bership dues). This has kept the amount of our membership dues constant for the past three years, our treasury solvent, and in¬ creased our membership.

ClarinetFests '98 and '99

Last summer's ClarinetFest in Lubbock had the largest attendance ever, resulting in greatly increased membership numbers. As I write this (late April), the ClarinetFest at Ohio State University in Columbus and host Jim Pyne's vision for his "Vienna and the Clarinet" symposium theme bodes well for another outstanding conference. Thanks to Jim and his fine staff for producing what I predict will be another highlight of our yearly gatherings. Looking forward, I.C.A. members who are interested in performing at the 1999 ClarinetFest in Ostend, Bel¬ gium, hosted by European Coordinator Guido Six, should send a proposal and a recording to him at the address or phone/ fax/e-mail number(s) listed on page 3 of the magazine. (Also see the notice about the 1999 ClarinetFest on page 2 of this issue). The '99 ClarinetFest, July 6-11, will be held in conjunction with the 150th Anniver¬ sary of the Conservatory of Music in Os¬ tend. Those who attended the 1993 festival in Ghent will remember a first-class confer¬ ence. More information will appear in the next issue of The Clarinet, including an update on the festival and possibly registra¬ tion forms. Guido has asked me to remind people to register early since housing in hotels cannot be saved until June. Ostend is a seaside city that attracts many tourists in the summer.


Volunteer Service

Gerald King, High School Competi¬ tion Coordinator, Keith Koons, Coordin¬ ator of the Clarinet Anthology Project and Chair of the Poster and Paper Presentation Committee, Raphael Sanders, Orchestral Audition Competition Coordinator, Eric Mandat, CD Project Coordinator, Roger Garrett, new Editor of the Electronic News¬ letter, Charles Stier, Liaison to the I.C.A. Research Center, Michele Gingras, Com¬ position Competition Coordinator, Joseph Messenger, Editor of Reviews, William Ni¬ chols, Audio Review Editor, David Nie- thamer, Internet Liaison, and all of our State, Regional and National Chairpersons all render valuable volunteer service on behalf of the association which is gen¬ uinely appreciated. The above constitute an impressive list of beneficial activities and projects available to our members.

Two new National Chairpersons repre¬ senting the Czech Republic and Poland were added to our long list of international affiliates. Maurita Mead, our fine secretary, has been in contact several times during the past two years with all our national chair¬ persons, enlisting their support for in¬ creasing membership and requesting them

to communicate our desire to have more of an international presence.

Gerry Errante has done much to help national societies affiliate with I.C.A. This effort enables individual members of affil¬ iated societies the benefits otherwise re¬ served for full membership (access to per¬ formance competitions, the I.C.A. Re¬ search Library, attendance at annual Clari- netEests, CD Recording Projects, transla¬ tion rights to copyrighted material in The Clarinet, and items sold only to mem¬ bers). As you have seen in previous issues of our journal, several new clarinet festi¬ vals are being held each year around the world, establishing the clarinet as a voice for artistic expression and affording atten¬ dees a worldwide fellowship with their international colleagues.

Member Questionnaire

Data from our recent Member Ques¬ tionnaire is coming in now and, as of June 20,1 have tabulated almost 400. Age dem¬ ographics reveal that 292 (76%) of the 384 members reporting are 36 years of age or older. The largest percentage of member¬ ship reporting (23%) is over 65 years of age. 184 (48%) of our respondents have attended a ClarinetFest. 285 (75%) have

access to the Internet. 294 (77%) would make use of the listings of the I.C.A. Score Catalogue were it made available electronically online via the Internet. 318 (83%) indicate an interest in our CD Pro¬ jects and 84% would purchase one of our CDs if they could order it when they paid their yearly membership dues. 90% indi¬ cated that $15 (U.S.) for the CD was rea¬ sonable. Comments from our international members indicate heavy duties and ex¬ change rates are negative factors. Most respondents indicated a preference for the location of future ClarinetEests, usually corresponding to their own locations. The most mentioned locations were for cities in the northeastern United States, Cali¬ fornia, Seattle and Europe. Many mem¬ bers took time to write comments about our association and The Clarinet. Typical comments such as, "Great organization and journal,"; "Jim Gillespie has done a remarkable job as editor."; "Articles are educational and entertaining."; "The Clar¬ inet is a storehouse of knowledge as well as a billboard of products available."; and, "Three cheers for The Clarinet and I.C.A."; were given. Helpful suggestions were given requesting more articles about jazz and the clarinet (including improvisation), more on reeds and mouthpieces, and more

As A Professional Musician;

How Do Yom Protect t^e "Toofs of Your Trade1"

If you are like thousands of other members of the International Clarinet Association, you have made a major investment in your instruments and other professional musical equipment What you might not know, however, is that musical instruments and related equipment, if used for business, are probably not insurable under your homeowner's policy. Furthermore, if taken on the road, your equipment is probably not insurable under your business insurance.

With the International Clarinet Association "All-Risk" Musical Instrument and Equipment Insurance Plan, you can obtain flexible coverage for your musical instruments and related equipment. Insure all your equipment, or use this Plan as a supplement to your current business coverage, insuring only that equipment which you take on location.

"All-Risk" means there are very few exceptions to your coverage. The ICA "All-Risk" Plan covers all the equipment you choose to insure. Your equipment is covered from theft, breakage, water damage, vandalism, vehicle damage, fire, lightning and other natural hazards.

If you would like information on how to apply for the International Clarinet Association "All-Risk" Musical Instrument and Equipment Insurance Plan, please contact ICA's Insurance Administrator, Albert H. Wohlers & Co., at 1440 N. Northwest Highway, Park Ridge, IL 60068-1400.

If you would like information immediately, please call toll free:

1-800-323-2106


information on how professional clar¬ inetists choose equipment. The sheer bulk of member comments will take more time to analyze, but will help us as we look to the future development of our organiza¬ tion. I suspect from a careful reading of these questionnaires that the data will continue to support this preliminary re¬ port. Thanks to all who have taken the time to respond.

Endowment

Harry "Bud" Rubin, our longtime legal counsel and friend, upon inquiry, reported to the Board of Directors that an endow¬ ment could be set up according to the by¬ laws of the association. Several of our members have made contributions to the association during the past few years. Accordingly, "the corporation [I.C.A.] may accept outright any unrestricted gifts, grants, or endowments that may be pre¬ sented by any person, firm, or corporation; and such gifts, grants, or endowments shall be placed in the general funds of the corporation to be used, as directed by the Board of Directors, for the aims and pur¬ poses of the corporation." Members wish¬

ing to make donations and contributions can do so by contacting any of the elected officers or Mr. Rubin.

Honorary Members

It wouldn't seem right to have a 25th Anniversary without remembering some of the pioneers who helped found this organization. By action of the Board of Directors, Honorary Memberships and appropriate plaques were presented to Ralph Strouf, Ramon Kireilis and Lee Gibson at the Columbus ClarinetFest, for their foresight and organizational vision of what has become one of the premier professional single-instrument societies. The Board has also set in place a mecha¬ nism to honor individuals for their life¬ time achievements on behalf of the clar¬ inet and music. To Ralph Strouf, who took an opportunity to host a national clarinet clinic/symposium on the campus of the University of Denver in 1964, Ray Kirei¬ lis, who envisioned an organization of international scope and was the associa¬ tion's first president in 1973, and Lee Gibson, the first editor of our official jour¬ nal, The Clarinet, hats off, standing ova¬

tion and hearty congratulations. I'm sure Bob Spring will have more to write about these new achievement awards in future issues of the magazine.

Happy Birthday, I.C.A.!

Happy 100th to The Clarinetl Our out¬ standing publication is due almost totally to the reliable, dedicated and creative work of our Editor/Publisher, James Gillespie. Jim and his staff of editorial associates, writers, review editors, our advertising man¬ ager, Gary Whitman, David Sanders and Pat Goldenberg and the staff at Buchanan Visual Communications in Dallas, Texas, are to be congratulated for a superior prod¬ uct. What would the I.C.A. be without The Clarinetl

New Officers

Finally, as provided for in our bylaws, the membership has elected new officers for the next biennium 1998-2000. It is a privilege to announce that Julie DeRoche will be president-elect, Robert Walzel will serve as treasurer and Maurita Murphy- Mead will continue as secretary. Robert Spring will assume the presidency after serving the past two years as president¬ elect. His coordination of the past two Young Artist Competitions has been ex¬ cellent, and we are making progress on sites for future ClarinetFests beyond 1999. I am sure he will have much more to say about this in his first message in the next issue of the magazine. Congratulations to all, and many thanks to our members for participating in the election process. It is assuring to know that our organization is in capable hands. Hosting a ClarinetFest isn't one of the qualifications for running for elected office, but it certainly won't hurt to have three successful former ClarinetFest hosts looking into more active involvement in the machinations of future conferences. Many thanks also to the nominating com¬ mittee headed by Edwin Riley.

Thanks for the Memories

The motto of a service club to which I belong is: "If It Ain't Fun, We Ain't Doin' It." While what we do as an organization isn't exactly "fun," the past two years have been a most enjoyable and rewarding ex¬ perience. As Bob Hope would say, "Thanks for the memories!"

HOUSTON BAND

INSTRUMENT COMPANY

Professional Restorations and Repairs

Complete Accessories

Vandoren Reeds

53% off list price

Wanted:

Good, Used Buffet K-13 Bband A Clarinets

Orders/Information call 1-800-779-7400

We accept American Express/liastercard/Visa/Discover

8920 Winkler • Houston, Texas 77017


A free poster of this ad is available by request.

Sole North American Importer: J. D'Addario & Company, Inc. PO Box 290 • Farmingdale, NY 11735 USA E-MAIL: [email protected] Home Page: http://www.daddario.com

*

Makers

of

Fine

Clarinets

31-35 Chiltern Street London W1M 1HG Tel: +44 171 935 2407 Fax: +44 171 224 2564

e-mail: [email protected] internet: http.Z/www.howarth.demon.co.uk

o

Q

Z

O

i

classified

advertising

All ads submitted for The Clarinet should be: 1. Typewritten, double-spaced; 2. As concisely worded as possible; 3. Non-commercial in nature and limited to the sale and trade of personally- owned instruments, music, accessories, etc.; 4. Submitted to the Editor by the advertising dead¬ lines listed on page 3; and 5. Placed by members of the I.C.A. only. Each ad will run only one issue unless the Editor is otherwise advised.

WANTED: Copies of the following

books (originals or copies): My Way to

Jazz, Benny Goodman; The Trouble

with Cinderella (1952), Artie Shaw; A

Legacy (1983), Artie Shaw. Contact

Dietrich Miiller, Neidenburger Str. 2a,

44807 Bochum, Germany, teL/fax: Oil

49/234-538423.

— fyfuSiC f0rU011 and your darine.^

Over 40 years of

fast

cCependaBCe

service

Vast stocf^of

music from

around the

world.

4318 Main Street Kansas City, MO 64111-1897

Call us TOLL FREE 800-2-LUYBEN For CHARGE ACCOUNT and CREDIT CARD purchases

Your order will be recorded - so please have all the information ready

All other purchases and questions: (816) 753-7111

Clarinetists serving Clarinetist


Perfect alignment of the

instrument's upper and lower

joints every time with PRAG!

That's the purpose of Leblanc's

simple yet ingenious innova¬

tion — PRAG, the Positive

Radial Alignment Guide.

This patented design, created

to help young clarinetists

assemble their instruments

correctly, ensures proper

alignment crucial to clarinet

performance, every time.

Viio®

Keep your students in line with

O

m:*

^3

PRAG

-96-

* Positive Radial Alignment Guide

y *

All Vito Bb soprano clarinets^now feature PRAG

World-Class Instruments from the World of Leblanc

. Leblanc Corporation • 7001 Leblanc Boulevard • RO. Box 1415 • Kenosha, Wisconsin 53141-1415 USA Internet: www.gleblanc.com

/: il

i THOSE WHOSE MUSJCg IS THE SOUND OF THEIR

'

•Hi

To reach inside and find meaning is the heart of music, to then express it is the soul of the musician. The renowned Selmer Clarinets are instruments of such expression. THEY PLAY SELMER.

Selmw

For brochure AV4785CP or AV4785CS write: The Selmer Company, Inc., P.O. Box 310, Elkhart, Indiana 46515-0310

volume 25, number 4, july-august 1998 - wild apricot · volume 25, number 4 july/august 1998 about...

Documents