Volume 33 Number 3 June 2006 - International Clarinet Association

Volume 33 Number 3 

June 2006

Volume 33, Number 3 June 2006 

ABOUT THE COVER… 

ClarinetFest® 2006 poster 

INDEX OF ADVERTISERS 

Alea Publishing & Recording....................................24 

Alexander’s Wind Instrument Center........................31 

Altieri Instrument Bags .............................................79 

Ben Armato .................................................................7 

Backun Musical Services....................................43, 87, 

Inside Back Cover 

Charles Bay ...............................................................20 

Behn Mouthpieces International................................13 

Kristin Bertrand Woodwind Repair...........................23 

Bois Ligatures............................................................79 

Robert Borbeck..........................................................61 

Brannen Woodwinds .................................................33 

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

CASS ...........................................................................9 

Crystal Records .........................................................23 

J. D’Addario — Rico Reeds........................................8 

The Davie Cane Company.........................................27 

Expert Woodwind Service, Inc..................................16 

Fleming Instrument Repair 79Gold Branch Music, Inc. 

27 

LampCraft..................................................................73 

Last Resort Music......................................................37 

Leblanc (Conn-Selmer) ...............................................2 

Lisa’s Clarinet Shop ..................................................41 

Lomax Classic Mouthpieces......................................57 

Luyben Music Co. .....................................................21 

Muncy Winds ............................................................24 

Naylor’s Custom Wind Repair ..................................83 

Olivieri Reeds............................................................41 

Ongaku Records, Inc. ..................................................5 

Orsi & Weir ...............................................................89 

Sean Osborn...............................................................61 

Patricola Fratelli SNS ................................................30 

Pomarico....................................................................84 

Bernard Portnoy.........................................................33 

Quodlibet. Inc. ...........................................................73 

Rast Music ...................................................................5 

Redwine Jazz .........................................................7, 73 

Reeds Australia..........................................................39 

L. Rossi......................................................................50 

Rutgers University, Mason Gross 

School of the Arts..................................................83 

Sayre Woodwinds......................................................27 

Selmer Paris (Conn-Selmer) .........Outside Back Cover 

Tap Music Sales ........................................................12 

TYRO by Mitchell Lurie ...........................................17 

University of Denver Lamont School of Music ........88 

University of Georgia School of Music.......................4 

University of Redlands ..............................................25 

University of South Carolina 

School of Music.....................................................92 

Van Cott Information Services..................................18 

Vandoren ...................................................................49 

Wichita Band Instrument Co. ....................................77 

Woodwindiana, Inc....................................................31 

Working the Single Reed: A Tutorial........................77 

Yamaha Corporation of America ..............................91 

Features 

THE CLARINET TEACHING OF KEITH STEIN — PART 15: TONE QUALITY 

by David Pino ..........................................................................................................................................................32 

THE ECLECTIC TRIO: RECOMMENDED TRIOS AND DUOS FOR FLUTE, 

CLARINET AND SAXOPHONE by Kennen White, Joanna Cowan White and John Nichol....................................35 

EARLY CLARINET PEDAGOGY FOR MODERN PERFORMERS, PART III: 

THOUGHTS ON ARTICULATION by Luc Jackman........................................................................................38 

WEBER’S CLARINET CHAMBER MUSIC WITHOUT BAERMANN by Joachim Veit..........................40 

THE MOVIES OF BENNY GOODMAN — A PICTORIAL RETROSPECTIVE, TAKE 3 

by James Gillespie ....................................................................................................................................................44 

USE OF THE CLARINET BY THE MORAVIAN SOCIETIES OF EARLY AMERICA 

by Jesse Krebs..........................................................................................................................................................48 

LAUDATE MARTINO TRIBUTES AFTER DONALD MARTINO (1931–2005) 

by Bruce M. Creditor.................................................................................................................................................55 

INTERNATIONAL CLARINET ASSOCIATION ATLANTA CLARINETFEST® 2006: 

AUGUST 9–13 .....................................................................................................................................................58 

DONALD E. McGINNIS, AN AMERICAN SUCCESS STORY by Jaime Titus.............................................62 

HYACINTHE KLOSÉ (1808–1880): HIS WORKS FOR CLARINET by Jean-Marie Paul...........................66 

MEDLEY WITH DIGRESSIONS by Henry Gulick ...........................................................................................72 

HOW TO HELP YOUR STUDENTS BUILD A CAREER IN THE MUSIC INDUSTRY 

by Lisa Argiris..........................................................................................................................................................74 

TONY SCOTT, PART II: THE LATER YEARS by Thomas W. Jacobsen........................................................75 

AN INTERVIEW WITH FRANSISCO GOMILA by Ian Jewel......................................................................78 

Departments 

LETTERS...............................................................................................................................................................5 

TEACHING CLARINET by Michael Webster.......................................................................................................6 

CLARINOTES....................................................................................................................................................12 

AUDIO NOTES by William Nichols ......................................................................................................................14 

CONFERENCES & WORKSHOPS.................................................................................................................18 

HISTORICALLY SPEAKING… by Deborah Check Reeves...............................................................................22 

LETTER FROM THE U.K. by Paul Harris .......................................................................................................24 

CLARINETISTS IN UNIFORM by Staff Sergeant Diana Cassar-Uhl..................................................................26 

INDUSTRY PROFILES — Phil Rovner of Rovner Products, Timonium, Maryland 

by Edward Palanker .................................................................................................................................................28 

REVIEWS ...........................................................................................................................................................80 

RECITALS AND CONCERTS.........................................................................................................................88 

THE PRESIDENT’S MESSAGE by Lee Livengood ...........................................................................................90 

June 2006 Page 1

INTERNATIONAL CLARINET ASSOCIATION 

Acting President: Lee Livengood, 490 Northmont Way, Salt Lake City, UT 84103, E-mail: 

Past President: Robert Walzel, School of Music, University of Utah, 204 David P. Gardner Hall, 1375 East Presidents 

Circle, Salt Lake City, UT 84112-0030, 801/273-0805 (home), 801/581-6765 (office), 801/581-5683 (fax), E-mail: 

 

Secretary: Kristina Belisle, School of Music, University of Akron, Akron, OH 44325-1002, 330/972-8404 (office), 

330/972-6409 (fax), E-mail: 

Treasurer: Diane Barger, School of Music, University of Nebraska–Lincoln, 120 Westbook Music Building, Lincoln, NE 

68588-0100, 402/472-0582 (office), 402/472-8962 (fax), E-mail: 

Executive Director: So Rhee, P.O. Box 1310, Lyons, CO 80540, 801/867-4336 (phone), 212/457-6124 (fax), E-mail: 

 

Editor/Publisher: James Gillespie, College of Music, University of North Texas, P.O. Box 311367, Denton, TX 76203-1367, 

940/565-4096 (office), 940/565-2002 (fax), E-mail: 

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

Contributing Editor: Joan Porter, 400 West 43rd, Apt. 41L, New York, NY 10036 

Editorial Staff: Joseph Messenger (Editor of Reviews), Department of Music, Iowa State University, Ames, IA 50011, 

515/294-3143, E-mail: ; William Nichols (Audio Review Editor), 111 Steeplechase Circle, 

West Monroe, LA 71291, 318/396-8299, E-mail: ; Tsuneya Hirai, 11-9 Oidecho, 

Nishinomiya, 662-0036 Japan; Kalmen Opperman, 17 West 67th Street, #1 D/S, New York, NY 10023; Heston L. 

Wilson, M.D., 1155 Akron Street, San Diego, CA 92106, E-mail: ; Michael Webster, 

Shepherd School of Music, Rice University, P.O. Box 1892, Houston, TX 77251-1892, 713/838-0420 (home), 

713/838-0078 (fax), E-mail: ; Bruce Creditor, 11 Fisher Road, Sharon, MA 02067, E-mail: 

; Thomas W. Jacobsen, 3970 Laurel Street, New Orleans, LA 70115, E-mail: ; Jean-Marie Paul, Vandoren, 56 rue Lepic, F-75018 Paris, France, (33) 1 53 41 83 08 (phone), 

(33) 53 41 83 02 (fax), E-mail: ; Deborah Check Reeves, Curator of Education, National 

Music Museum, University of South Dakota, 414 E. Clark St., Vermillion, SD 57069; phone: 605/ 677-5306; fax: 

605/677-6995; Museum Web site: ; Personal Web site: ; 

Paul Harris, 15, Mallard Drive, Buckingham, Bucks. MK18 1GJ, U.K.; E-mail: ; 

Diana Cassar-Uhl, 26 Rose Hill Park, Cornwall, NY 12518 

I.C.A. Research Center: SCPA, Performing Arts Library, University of Maryland, 2511 Clarice Smith Performing 

Arts Center, College Park, MD 20742-1630 

Research Coordinator and Library Liaison: Keith Koons, Music Department, University of Central Florida, 

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Historian: Alan Stanek, 1352 East Lewis Street, Pocatello, ID 83201-4865, 208/232-1338 (phone), 208/282-4884 (fax), 

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International Liaisons: 

Australasia: Floyd Williams, 27 Airlie Rd, Pullenvale, Qld, Australia, (61)7 3374 2392 (phone), E-mail 

Europe/Mediterranean: Guido Six, Artanstraat 3, BE-8670 Oostduinkerke, Belgium, (32) 58 52 33 94 (home), (32) 59 70 70 

08 (office), (32) 58 51 02 94 (home fax), (32) 59 51 82 19 (office fax), E-mail: 

North America: Luan Mueller, 275 Old Camp Church Road, Carrollton, GA 30117, 678/796-2414 (cell), E-mail: 

South America: Marino Calva, Ejido Xalpa # 30 Col. Culhuacan, Mexico D.F. 04420 Coyoacan, (55) 56 95 42 10 

(phone/fax), (55) 91 95 85 10 (cell), E-mail: 

National Chairpersons: 

Argentina: Mariano Frogioni, Bauness 2760 4to. B, CP: 1431, Capital Federal, Argentina 

Armenia: Alexandr G. Manukyan, Aigestan str. 6 h. 34,Yerevan 375070, Armenia, E-mail: 

Australia: Floyd Williams, Queensland Conservatorium, P. O. Box 3428, Brisbane 4001, Australia; 61/7 3875 6235 (office); 

61/7 3374 2392 (home); 61/733740347 (fax); E-mail: 

Austria: Alfred Prinz, 3712 Tamarron Dr., Bloomington, Indiana 47408, U.S.A. 812/334-2226 

Belgium: Guido Six, Artanstraat 3, B-8670 Oostduinkerke, Belgium, 32/58 52 33 94 (home), 32 59 70 70 08 (office), 

Fax 32 58 51 02 94 (home), 32 59 51 82 19 (office), E-mail: 

Brazil: Ricardo Dourado Freire, SHIS QI 17 conj. 11 casa 02, 71.645-110 Brasília-DF, Brazil, 5561/248-1436 (phone), 

5561/248-2869 (fax), E-mail: 

Canada: Peter Spriggs, The Clarinet Center, P.O. Box 159, Penticton, British Columbia V2A 6J9, Canada, Phone/Fax 

250/497-8200, E-mail: 

Eastern Canada: Stan Fisher, School of Music, Acadia University, Wolfville, Nova Scotia B0P 1XO, Canada 

Central Canada: Connie Gitlin, School of Music, University of Manitoba, 65 Dafoe Road, Winnipeg, MB, R3T 2N2, Phone 

204/797-3220, E-mail: 

Western Canada: Gerald N. King, School of Music, University of Victoria, Box 1700 STN CSC, Victoria, British Columbia V8W 

2Y2, Canada, Phone 250/721-7889, Fax 250/721-6597, E-mail: 

Caribbean: Kathleen Jones, Torrimar, Calle Toledo 14-1, Guaynabo, PR 00966-3105, Phone 787/782-4963, 

E-mail: 

Chile: Luis Rossi, Coquimbo 1033 #1, Santiago centro, Chile, (phone/fax) 562/222-0162, E-mail: 

Costa Rica: Alvaro D. Guevara-Duarte, 300 M. Este Fabrica de Hielo, Santa Cruz-Guanacaste, Costa Rica, Central America, 

E-mail: 

Czech Republic: Stepán Koutník, K haji 375/15 165 00 Praha 6, Czech Republic, E-mail: 

Denmark: Jørn Nielsen, Kirkevaenget 10, DK-2500 Valby, Denmark, 45-36 16 69 61 (phone), 

E-mail: 

Finland: Anna-Maija Joensuu, Finish Clarinet Society, Karipekka Eskelinen, Iso Roobertinkatu 42A 16, 00120 Finland, 

358-(0)500-446943 (phone), E-mail: 

France: Guy Deplus, 37 Square St. Charles, Paris, France 75012, phone 33 (0) 143406540 

Germany: Ulrich Mehlhart, Dornholzhauser Str. 20, D-61440 Oberursel, Germany, 

Great Britain: David Campbell, 83, Woodwarde Road, London SE22 8UL, England, 44 (0)20 8693 5696 (phone/fax), 

E-mail: 

Greece: Paula Smith Diamandis, S. Petroula 5, Thermi 57001, Thessaloniki, Greece, E-mail: 

Hong Kong: Andrew Simon, 14B Ying Pont Building, 69-71A Peel Street, Hong Kong (011) 852 2987 9603 (phone), 

E-mail , 

Hungary: József Balogh, Bécsi u. 88/90.1/31, H-1034 Budapest, Hungary, 36 1 388 6689 (phone/fax), 

E-mail:, 

Iceland: Kjartan ‘Oskarsson, Tungata 47, IS-101, Reykjavik, Iceland, 354 552 9612 (phone), E-mail: 

Ireland: Tim Hanafin, Orchestral Studies Dept., DIT, Conservatory of Music, Chatham Row, Dublin 2, Ireland, 

353 1 4023577 (fax), 353 1 4023599 (home phone), E-mail: 

Israel: Eva Wasserman-Margolis, Weizman 6, Apt. 3, Givatayim, Israel 53236, E-mail: 

Italy: Luigi Magistrelli, Via Buonarroti 6, 20010 S. Stefano Ticino (Mi), Italy, 39/(0) 2 97 27 01 45 (phone/fax), 

E-mail: 

Japan: Koichi Hamanaka, Rm 575 9-1-7 Akasaka Minatoku, Tokyo 107-0052 Japan, 81-3-3475-2844 (phone), 81-3-3475-6417 

(fax), Web site: , E-mail: 

Korea: Im Soo Lee, Hanshin 2nd Apt., 108-302, Chamwondong Suhchoku, Seoul, Korea. (02) 533-6952 (phone), 

(02) 3476-6952 (fax), E-mail: 

Luxembourg: Marcel Lallemang, 11 Rue Michelshof, L-6251 Scheidgen, Luxembourg, E-mail: 

Mexico: Luis Humberto Ramos, Calz. Guadalupe I. Ramire No. 505-401 Col. San Bernadino, Xochimilco, Mexico D.F., 

16030. 6768709 (fax), E-mail: 

Netherlands: Nancy Wierdsma-Braithwaite, Arie van de Heuvelstraat 10, 3981 CV, Bunnik, Netherlands, E-mail: 

 

New Zealand: Andrew Uren, 26 Appleyard Crescent, Meadowbank, Auckland 5, New Zealand, 

64 9 521 2663 (phone and fax). 

Norway: Håkon Stødle, Fogd Dreyersgt. 21, 9008 Tromsø, Norway 47/77 68 63 76 (home phone), 47/77 66 05 51 (phone, 

Tromsø College), 47/77 61 88 99 (fax, Tromsø College), E-mail: 

People’s Republic of China: Guang Ri Jin, Music Department, Central National University, No. 27 Bai Shi Qiao Road, 

Haidian District, Beijing, People’s Republic of China, 86/10-6893-3290 (phone) 

Peru: Ruben Valenzuela Alejo, Av. Alejandro Bertello 1092, Lima, Peru 01, 564-0350 or 564-0360 (phone), 

(51-1) 564-4123 (fax), E-mail: 

Poland: Krzysztof Klima, os. Wysokie 10/28, 31-819 Krakow, Poland. 48 12 648 08 82 (phone), 48 12 648 08 82 (fax), 

E-mail: 

Portugal: António 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: vacant 

Sweden: Kjell-Inge Stevensson, Erikssund, S-193 00 Sigtuna, Sweden 

Switzerland: Andreas Ramseier, Alter Markt 6, CH-3400 Burgdorf, Switzerland 

Taiwan: Chien-Ming, 3F, 33, Lane 120, Hsin-Min Street, Tamsui, Taipei, Taiwan 25103 

Thailand: Peter Goldberg, 105/7 Soi Suparat, Paholyotin 14, Phyathai, Bangkok 10400 Thailand 

662/616-8332 (phone) or 662/271-4256 (fax), E-mail: 

Uruguay: Horst G. Prentki, José Martí 3292 / 701, Montevideo, Uruguay 11300, 00598-2-709 32 01 (phone) 

Venezuela: Victor Salamanques, Calle Bonpland, Res. Los Arboles, Torrec Apt. C-14D, Colinas de Bello Yonte Caracas 

1050, Venezuela, E-mail: 

H O N O R A R Y M E M B E R S 

Betty Brockett (1936–2003) 

Jack Brymer (1915–2003) 

Guy Deplus, Paris, France 

Stanley Drucker, New York, New York 

F. Gerard Errante, Norfolk, Virginia 

Lee Gibson, Denton, Texas 

James Gillespie, Denton, Texas 

Paul Harvey, Twickenham, Middlesex, U.K. 

Stanley Hasty, Rochester, New York 

Ramon Kireilis, Denver, Colorado 

Karl Leister, Berlin, Germany 

Mitchell Lurie, Los Angeles, California 

Alfred Prinz, Bloomington, Indiana 

Harry Rubin, York, Pennsylvania 

James Sauers (1921–1988) 

William O. Smith, Seattle, Washington 

Ralph Strouf (1926–2002) 

Himie Voxman, Iowa City, Iowa 

George Waln (1904–1999) 

David Weber (1914-2006) 

Pamela Weston, Hothfield, Kent, U.K. 

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© Copyright 2006, 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. 

Views expressed by the writers and reviewers in The Clarinet are not necessarily those of the staff of the journal or of the International Clarinet Association 


(Letters intended for publication in The 

Clarinet should be addressed to James 

Gillespie, Editor, “Letters,” The Clarinet, 

College of Music, University of North 

Texas, Denton, Texas 76203-1367 or via 

e-mail: . 

Letters may be edited for purposes of clarity 

and space.) 

Editor: 

In response to the English reader who 

exoriated The Clarinet for “obituary material” 

that was “insulting” to Artie Shaw, I 

must say that like so much criticism, his 

comments are really a lack of understanding. 

This delightful process of understanding 

should not be denied this reader who, 

by his admission, does not even subscribe 

to The Clarinet. The articles in the March 

2005 issue are not labeled as an obituary, 

but rather as a tribute and remembrances. 

Mr. Shaw retired from music more than 50 

years ago, so it would seem that he did not 

regard the clarinet as the most important 

aspect of his life. Anyone who has read 

his book, The Trouble With Cinderella. An 

Outline of Identity, knows that he viewed 

music as only one part of life, albeit a vital 

part. The personal tributes offer invaluable 

insights into his character and philosophy. 

The articles in The Clarinet were published 

on short notice and certainly allow 

a better understanding of Artie Shaw musically. 

Perhaps instead of dashing off a 

querulous letter, the reader could submit 

an article about Shaw and contribute 

something constructive, and also allow 

us to share his erudition. The Clarinet is 

far better than any other publication 

about the instrument, in my opinion, and 

it is to be commended. 

Sincerely, 

John R. Snyder 

Knoxville, TN 

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Web site for details and information. 


ut you have no idea where you might be 

when you exit. 

Nobody utilized the diminished seventh 

chord better than J.S. Bach. Example 15 

has two modulatory diminished seventh 

chords, in mm. 6 and 8. By m. 5, we have 

modulated from the tonic key of G major 

to the dominant, D major. In each case, a 

raised fourth scale step becomes the leading 

tone of a new minor key a fifth higher, 

namely A minor and E minor. In m. 10, 

the sixth scale step is raised to become the 

leading tone, but this time as part of a 

dominant seventh in D major. 

by Michael Webster 

Michael Webster 

SEVENTH HEAVEN, 

THE JOURNEY CONCLUDED 

Thirty-third in a series of articles using 

excerpts from a clarinet method in progress 

by the Professor of Clarinet and 

Ensembles at Rice University’s Shepherd 

School of Music 

This is a continuation of “Seventh Heaven,” 

The Clarinet (March 2006) 

In our March issue, “Seventh Heaven” 

left us dangling on a diminished seventh 

chord, with all of its power, ambiguity, 

and possibility. Because of its 

symmetry (all minor thirds, one spelled as 

an augmented second), the diminished 

seventh chord is an easy and versatile modulatory 

aid. Like a revolving door for the 

Keystone Kops, it can be entered at will, 

Page 6 

Should the student be keeping track of 

these modulations Absolutely! In working 

with very advanced college-aged students, 

I have found that this is one aspect 

of their musical education that has often 

been neglected. All players of melody 

instruments should learn to think vertically, 

and the music of J.S. Bach, and of 

Praeludium XV in particular, is perfect for 

this purpose. A moment’s glance shows 

that it uses a standard exercise pattern that 

appears in “Promise Her Anything, But 

THE CLARINET 

Give Her Arpeggios” (The Clarinet, September, 

2005) as Example 5. Having practiced 

the pattern in the appropriate keys, 

players then access the chords from their 

memory banks (brain and fingers) as they 

are applied like this: 

m. 1 Key of G major 

I (GM) 

IV (CM) 

m. 2 VII (F ♯ d) 

I (GM)

m. 3 Modulation to D Major 

V of V (AM) 

V/I (DM) 

This brings us to the downbeat of m. 4, 

where a second pattern begins, sharing the 

melodic duties with the first pattern for the 

remainder of this short but beautifully constructed 

piece. 

The tonic pedal point in the lower voice 

of mm. 1 & 2 does not change the harmonic 

thinking of the top voice, nor does the 

fact that it adds a seventh to the A major 

triad in m. 3. Part of this harmonic ear 

training is to learn how VII, V, VII 7 and V 7 

are interlocking variations of each other, 

all leading strongly to the tonic. The upper 

voice plays V, but hears V 7 in m. 3. 

The new pattern in mm. 4 and 5 does 

not fall into any of our pre-practiced routines 

and can be viewed as an upward and 

downward scale in D major, interrupted by 

a C ♯ –D pedal point. The harmonic background 

is obscured by its scalar nature, but 

can be analyzed as: 

m. 4 Key of D major 

II 7 (incomplete Em 7 ) 

V 7 (AMm 7 ) 

m. 5 I (DM) 


It is not necessary to recognize the II 7 

chord, but it is necessary to hear the second 

half of m. 4 as an elaborated V 7 resolving 

to I in D major. 

Recognizing a new leading tone is the 

most valuable skill in this kind of harmonic 

reading. The diminished seventh chords 

are presented in Example 14 of “Seventh 

Heaven” (The Clarinet, March, 2006) as 

VII 7 in minor keys because that is their 

most common function. As soon as we see 

the diminished seventh chord on G ♯ in m. 6 

we read G ♯ as the leading tone and the 

chord as VII 7 in A minor; the D ♯ diminished 

seventh chord in m. 8 serves E minor 

the same way. The fluidity of VII 7 and V 7 

is demonstrated by the intrusion of this 

most fleeting of dominants: an E in m. 6 

and a B in m. 8. 

It is slightly harder to identify C ♯ in m. 

10 as a leading tone, but experience will 

help to identify such situations more fluently. 

D major is the key and the dominant 

chord can be seen (and heard) in both voices 

on the four strong beats in the measure. 

The top voice finishes with a complete 

dominant seventh chord on the last beat 

starting a sequence that is very rich in seventh 

chords: 

m. 11 Key of D major 

I (DM) 

I 7 or V 7 of IV (DMm 7 ) 

IV (GM) 

V 7 (AMm 7 ) 

m. 12 I 7 (DM 7 ) 

IV 7 (GM 7 ) 

II 7 (Em 7 ) 

V 7 (AMm 7 ) 

m. 13 Modulation to G Major 

I 7 /V 7 (DMm 7 ) 

I 7 or V 7 of IV (GMm 7 ) 

m. 14 IV 7 (CM 7 ) 

II 7 or V 7 of V (AMm 7 ) 

m. 15 V 7 (DM 7 ; DMm 7 ) 

m. 16 I 7 or V 7 of IV (GMm 7 ) 

In the second half of m. 16 the fun really 

begins. From here to the end it would 

be possible to analyze every eighth-note 

beat in G major, but that wouldn’t be descriptive 

enough. The bottom line can (and 

should) be read as a series of seventh 

chords: DMm 7 , CM 7 , Bm 7 , Am 7 , GM 7 , 

F ♯ dm 7 . The top line could be read simply 

as triads: CM, DM, Bm, CM, Am, Bm, 

GM, AM, etc. But it is more fun and more 

consistent with what is heard to read them 

as overlapping seventh chords: 

C-E-G-A = Am 7 ; A-F ♯ -D-B = Bm 7 ; 

B-D-F ♯ -G = GM 7 ; G-E-C-A = Am 7 , etc. 

Finally, if you consider the four notes 

of each seventh chord in the bottom voice 

together with the six notes above it, you 

have a series of ninth chords that would 

make Dave Brubeck envious. In practical 

terms, the upper voice will have been “preprogrammed” 

in Example 6 of “Seventh 

Heaven,” resulting in fluent reading and 

quick learning. 

The seventh chords in Praeludium XI 

(see Example 16) are only slightly more 

disguised than those in Praeludium XV, 

but they are even more persistent, appearing 

26 times as the second half of the 12- 

note motive that runs throughout the 18- 

measure piece. 


Like Praeludium XV, Praeludium XI 

modulates to D major and E minor and in 

mm. 9 and 10 has a sequence of four dominants 

(F ♯ , B, E, A) of which Dave Brubeck 

would also have been proud. The leading 

tones alternate ostentatiously between the 

two voices (A ♯ , D ♯ , G ♯ , C ♯ ). 

Trilling each of those leading tones 

offers a fingering challenge. A ♯ to B is easy 

fingering A ♯ 1/1 and wiggling the right 

index finger. The only other fingering that 

tunes well (LH fork key for A ♯ ) cannot be 

reached preceded by E. The D ♯ trill can 

also be fingered 1/1 with ease, but in this 

register, the D ♯ will be sharp. The best D ♯ 

trill is rather odd: To the first finger LH 

add all three RH fingers plus the low E 

key, then wiggle the three fingers while 

leaving the E key down. It tunes well and 

Page 10 

is surprisingly easy. For both of these trills, 

avoid using the side key because the upper 

note becomes way too sharp. 

Unfortunately, there are no fancy fingerings 

for the trills in m. 10, but there is 

one trick to make them easier. Maintain 

the fingers’ shape in the down position 

while lifting them, so that the pinky stays 

lower than the ring finger. Pretend that 

there is a rubber band around the two fingers 

and move them as a unit. Obviously, 

these trills are not the easiest to begin 

with, so we’ll investigate an elementary 

approach to trills in our next installment. 

A surprise F ♮ breaks the circle of 5ths 

and veers into a jazzy new sequence: 

GMm 7 , FM 7 , and EMm 7 . There ensues 

another sequence of four dominants (E, A, 

D, G) resolving not to a CM triad, but to a 

THE CLARINET 

CM 7 (m. 14) which becomes a ninth chord 

by adding a D before moving on to an 

Am 7 chord. This is jazz harmony anticipated 

by two centuries, and an amazingly 

rich palette of seventh chords for a student 

to practice in the context of a small, lovely 

musical gem. 

Motivically, the first six notes do not 

constitute a seventh chord as the second 

six do, but if they start on the fifth of a 

chord, as in m. 2, another set of seventh 

chords is created. Consequently this 18-bar 

piece has 16 different seventh chords to 

practice: six major-minor sevenths, five 

diminished-minor sevenths, three major 

sevenths, and two minor sevenths. 

Bach, however, was thinking of the 

first six notes as a triad with lower neighboring 

tones as in m. 1. If it happens to be 

a seventh chord, as in m. 2, it is incidental 

and coincidental. As a result, there are 

two times when a minor triad has a raised 

lower neighboring tone (Em plus D ♯ in 

m. 5 and Am plus G ♯ in m. 11). The resulting 

seventh chord (a minor-major seventh), 

is not part of Bach’s harmonic language 

nor the language of the 19th century. 

Thus it does not appear in my arpeggio 

studies, nor in any others that I know of. 

But it is a part of 20th-century language, 

especially movie music, and could be 

added to an arpeggio routine if desired. 

Speaking of 20th-century harmony, notice 

that Bach was not afraid of dissonance. 

Examples abound in his works, and one of 

the best is in m. 7. The chord progression 

is as normal as could be (IV, VII 7 in E 

minor), but keeping the shape of the 12- 

note motive in the lower voice is paramount. 

As a result, the sixth eighth note of 

the bar brings the striking juxtaposition of 

E and D ♯ . It doesn’t last very long, but it 

will certainly wake up anyone who might 

have been dozing off. There are a few 

other dissonances in this short piece, most 

notably the major sevenths between C and 

B in m. 14, but they are not quite as spicy 

as in m. 7. 

In music that is essentially linear such 

as these examples, most appearances of the 

dominant are more veiled. In the Menuet 

from Bach’s English Suite (see Example 

17), the underlying harmony contains dominants 

in m. 4 (Cm) and mm. 6, 7, 11, and 

13 (E ♭ M). It is particularly obscured by 

the unusual voice leading in m. 13. Contemporary 

purists would have scoffed at 

the perfect fifth (G-D) leading in parallel 

motion to the perfect fourth (F-B ♭ ), but

Bach didn’t care. The melodic construction 

of the voices superseded such trivial harmonic 

issues, just as it did in m. 7 of Praeludium 

XI. Here the lines are scalar rather 

than chordal and we will be drawing upon 

Although this piece includes a very 

nice sequence of seventh chords with the 

same melodic outline as in Praeludium 

XI, the main reason it is included occurs 

in mm. 14–15, and again in mm. 26–29, 

in which the VII 7 and V 7 overlap to create 

a very rich dominant. M. 14 contains an incomplete 

VII 7 in F minor (E-G-D ♭ ) and the 

first beat of m. 15 hints at one of Beethoven’s 

favorite chords, the Mmm 9 , which 

consists of a VII 7 stacked atop a V 7 . See 

m. 280 of the Eroica Symphony for a dramatic 

example. 

The D ♮ on beat two of m. 15 dispels the 

minor ninth and leads to a calm resolution 

via a melodic minor scale. The second 

example is more Beethovenian, climaxing 

in m. 29 with all five notes of the Mmm 9 

(G-B-D-F-A ♭ ). Our goal is to enjoy the 

richness of that moment (G with A ♭ , A ♮ 

with G, B ♮ with E ♭ ), and to hear it all as a 

super dominant in C minor. Through the 

genius of Bach, the greatest religious 

composer ever, we can arrive in “Seventh 

our scales rather than arpeggios for practice. 

Still, the B ♭ in the bass should signal 

“dominant” and the E ♮ in the next measure 

(m. 14) should warn of a modulation to F 

minor via the leading tone. 

Heaven” by using his music to practice 

our arpeggios. 

WEBSTER’S WEB 

My friend Richard Nunemaker, bass 

clarinetist of the Houston Symphony and 

strong advocate of contemporary music 

responded to my thoughts about the hurricane 

victims: 

What wonderful words you had to say in 

this month’s “Webster’s Web.” All of us 

indeed are so fortunate to be able to experience 

the joy of music. Some of us are even 

more fortunate than others to actually be 

able to perform music as a career choice. 

Life does not get any better than that. Each 

day I arise I give thanks to be so blessed. 

Yes, we must remember all those who 

are less fortunate than us. As musicians 

and artists we can spread the joy of sharing 

music and its healing powers at our 

performance venues, in our teaching studios 

and at our community service performances. 

And, taking your advice, do what 

each of us can, to help equalize education, 

economic opportunities, and quality health 

care for all. Thanks for giving us pause to 

think about the fragility of life and to be 

grateful for each day as they come. 

A clarinetist who exemplifies appreciation 

of our good fortune in making a living 

from doing something we love is Lorenzo 

Coppola, who visited Rice to perform 

with Context, an organization founded 

by Sergiu Luca dedicated to performances 

on period instruments. He performed 

the Mozart Quintet on his “Clarinetto 

d’amore,” a basset clarinet in A with 

the same kind of bulbous bell as an oboe 

d’amore. While here, he visited both of 

my weekly studio classes, coaching a student 

group in the Mozart Quintet, performing 

the Mozart Concerto for us, accompanied 

by an early 19th-century Graf piano 

tuned to A=430, and allowing me to 

try his precious instrument. 

The coaching was eye-opening. With 

playful persuasiveness and excellent English, 

he had the students totally rethink 

their approach to the Mozart, especially 

in terms of tapered phrasing rather than 

long sustained lines, the concept of appoggiatura 

and cadence, and in putting 

expression in the bow, with little or no 

help from vibrato. 

His clarinetto d’amore is a replica of 

the soft-voiced instrument that Stadler 

probably used. Lorenzo pointed out that 

the first performance of the concerto had 

six violins, two violas, two cellos, and one 

bass and that the winds in the orchestra 

never play with the solo voice, thus preventing 

balance problems. 

My admiration for his mastery of this 

instrument grew exponentially when I 

tried to play it myself. He gave me a minilesson 

in front of my students, who had a 

great time seeing their teacher struggle 

with the cross fingerings, the incredibly 

poor intonation, and the extremely weak 

reed. You can’t imagine the lengths that 

period players must go to in order to play 

in tune until you try it yourself. I’ll leave it 

to Lorenzo, who spent five days at my 

home and was a joy to be around. I don’t 

think anyone’s understanding of the clarinet 

can be complete without hearing historical 

instruments live. Recordings just 

don’t give an inkling of the quiet purity of 

the sound and the machinations of fingering 

and embouchure necessary to achieve 

it. Thank you, Lorenzo. 


Buddy DeFranco 

Among Honorees Named 

NEA Jazz Masters 

Initiated in 1982, the NEA Jazz Master 

title is the nation’s highest honor in this 

distinctively American art form. In addition 

to the coveted designation, each member 

of the Class of 2006 will receive a fellowship 

award of $25,000 and be invited 

to participate in outreach efforts, including 

broadcasts and NEA Jazz Masters On Tour. 

The NEA Jazz Master Award is part of 

the NEA Jazz Masters Initiative and is 

sponsored by Verizon. Through its support 

of this initiative, Verizon continues its tradition 

of supporting quality musical entertainment 

and education across the country. 

The seven new NEA Jazz Masters are 

Ray Barretto (percussionist), Tony Bennett 

(vocalist), Bob Brookmeyer (arrangercomposer), 

Chick Corea (keyboardist), 

Buddy DeFranco (solo instrumentalist, 

clarinet), Freddy Hubbard (solo instrumentalist, 

trumpet), and John Levy (A.B. Spellman 

NEA Jazz Masters Award for Jazz 

Advocacy, for his career as a manager). 

In addition, the A.B. Spellman NEA 

Jazz Masters Award for Jazz Advocacy, 

named in honor of the noted jazz critic, 

historian, and poet who served for many 

years as a Deputy Chairman of the Arts 

Endowment, is given this year to John 

Levy. A talented bassist, Levy in 1951 

became the first African-American to work 

as a personal manager in the music industry 

— a career that he has now pursued 

successfully for half a century. 

The seven new NEA Jazz Masters received 

their awards in January 2006 at a 

gala concert in New York City, presented 

under the auspices of the annual convention 

of the International Association for 

Jazz Education. 

News from Paris 

A competition was held on February 12 

for the E ♭ clarinet position in the Orchestra 

National de France in Paris, and it was 

won by Jessica Bessac succeeding Gilbert 

Monier. Since 2005, Bessac has been the 

E ♭ clarinetist in the Orchestre d’Ile de 

France. The 1st Soloist in the Orchestre 

National since 2003 is Patrick Messina, a 

chair previously occupied by Guy Dangain 

and Alessandro Carbonare. The co-principal 

clarinet since 2004 is Nicolas Baldeyrou. 

In the orchestra of the Opera de Paris 

the 2nd Soloist since 2004 is Alexandre 

Chabod, the chair formerly occupied by 

Philippe Cuper, now Super-Soloist with 

Jean-François Verdier. 

At the Ensemble Orchestral de Paris, 

the 2nd Soloist/bass clarinetist since 2004 

is Florent Pujuila, the Third Prize winner 

in the Munich Competition in 2003, and 

the 1st Soloist is Richard Vieille. The clarinetists 

in the Ensemble Intercontemporain 

(founded by Pierre Boulez) include 1st 

Soloist Alain Damiens, bass clarinetist Sébastien 

Billard and, since March of 2005, 

the 2nd Soloist is Jérome Comte who replaced 

André Trouttet. 

At the Paris Conservatoire, two rounds 

of entrance auditions were held to fill the 

six vacancies for clarinet students. The required 

repertoire included in round one: F. 

Berr, Etude No. 12 sur un theme de Paganini 

(from 12 Etudes Mélodiques, and L. 

Cahuzac’s Arlequin; round two: A. Messager, 

Solo de concours and Lutoslawski, 

Dance Preludes. From the 52 candidates 

competing in the first round, 13 were selected 

for the final round. The following 

were chosen: Roman Millard (from the 

Conservatoire National de Region de Paris, 

class of Richard Vieille), Romy Bischoff 

(from the Conservatoire National de 

Region de Paris, class of Richard Vieille), 

Akima Yoshino (Japan, Conservatoire 

12th Arrondissement, Paris), Florence 

Bouillot (Conservatoire National de Region 

of Rueil-Malmaison, class of Michel 

Arrignon and Florent Héau), Frank Russo 

(also from Conservatoire National de Region 

of Rueil-Malmaison) and Yung-Nyen 

(Taiwan, also from Conservatoire National 

de Region of Rueil-Malmaison). The 

current professors of clarinet at the Paris 

Conservatoire are Michel Arrignon with a 

class of 12 students and Pascal Moraguès 

with a class of six students. 

[Merci to Jean-Marie Paul. Ed.] 

Woodwind Dictionary 

Online 

Molem Woodwind Atelier is proud to 

announce WOODWINDWORDS, a free 

online woodwind dictionary: . Woodwindwords 

allows users to translate woodwind terminology 

from English into German and 

French, and vice versa. It currently contains 

around 5,000 entries concerning 

instruments, accessories, materials, tools, 

repair, fabrication, and other related fields. 

Molem, , is a 

workshop for the making, repairing, and 

restoring of woodwind instruments, situated 

near Paris and founded by Mona Lemmel. 

For more information please contact 

. 

Visit the I.C.A. 

on the World Wide Web: 

www.clarinet.org 

Page 12 

THE CLARINET


Page 14 

by William Nichols 

Composers Recordings, Inc. (CRI), 

founded in 1954, was for nearly 

50 years, by their own description, 

“America’s premier new music label.” 

Sadly the label ceased operation 

about three years ago. Its collection of 

20th-century repertoire, almost exclusively 

American, is immense and diversified 

in style and medium. CRI existed as a 

nonprofit corporation supported by private 

foundations, universities and individuals. 

Its catalog chronicles a vast history 

of American concert music from mid-century 

to the present. 

Fortunately New World Records has 

recently acquired CRI’s assets. According 

to New World’s Director of Artists and 

Repertory, Paul Tai, they plan to make the 

complete CRI CD catalog available as 

“burn-on-demand CDs” beginning in the 

fall of 2006. In addition about three to 

four CRI titles per year, over the next few 

years, are being reissued on New World 

Records, beginning just last April. 

Also very fortunately, much of the CRI 

CD catalogue is still available, and at bargain 

basement prices of $3.50 to $4.00 per 

disc! At least two sources, Qualiton Imports, 

Ltd. () and 

Berkshire Record Outlet () are currently (2/06) 

offering over 200 titles. This enables 

adventuresome clarinetists and lovers of 

contemporary music, and the curious, an 

affordable chance to sample, in many 

cases, unknown repertoire and also to hear 

many fine players, some of which are 

among the finest “new music” artists of the 

present and past decades. 

Following is a list of CD releases of 

possible interest to clarinetists. This is certainly 

not a comprehensive listing of all the 

CRI titles which feature clarinet works or 

prominent ensemble playing by clarinetists, 

however it is a substantial effort to 

that end. The discs included present at least 

one solo or small chamber work for clarinet, 

or a work with chamber ensemble 

accompaniment in which prominent clarinetists 

are indicated as personnel. Generally 

only clarinet works are included in 

the listing, and other works which may 

also be on the disc are omitted for the sake 

of time and space, as are non-clarinetist 

performers. The first 20 items listed were 

examined for this study and will contain 

brief critical comment and special recommendation. 

The remainder of this rather 

extensive array of recordings consists only 

of basic information: 

CRI 609 — Shulamit Ran: Concerto da 

Camera II for clarinet, string quartet 

and piano/Edward Gilmore, clarinet; 

Apprehensions for voice, clarinet and 

piano/Laura Flax, clarinet; Private 

Game for clarinet and cello/Laura Flax, 

clarinet. This disc contains exciting 

music presented by two leading clarinetists 

in the new music field. There is 

brilliant playing by Edward Gilmore, 

and among other aspects some amazing 

altissimo control by the Da Capo Chamber 

Players’ Laura Flax — strongly recommended. 

CRI 725 — Roberto Sierra: Pieza Características 

for sextet including bass clarinet; 

Ritmorroto for solo clarinet; Tres 

Fantasías for clarinet, cello and piano; 

Cinco Bocetos for solo clarinet; Con 

Tres for clarinet, bassoon and piano/ 

William Helmers, clarinet and bass 

clarinet. This is a stellar disc of interesting 

music beautifully performed by this 

Milwaukee based clarinetist. A favorable 

review by Linda Bartley appears 

in the May/June, 1998 issue of The 

Clarinet. 

CRI 893 — Barbara White: the mind’s 

fear, the heart’s delight, and LIFE in 

the castle with the New York New Music 

Ensemble/Jean Kopperud, clarinet 

and bass clarinet; when the SMOKE 

clears for clarinet, violin and marimba/Michael 

Lowenstern, clarinet; noman’s 

LAND, for solo clarinet, with 

composer/clarinetist Barbara White. 

Exciting playing of interesting music by 

THE CLARINET 

the well-known Jean Kopperud and 

Michael Lowenstern, as well as accomplished 

playing by Barbara White. 

CRI 693 — Donald Martino: A Set for 

Clarinet/Michael Webster, clarinet; 

Trio for violin, clarinet and piano/Arthur 

Bloom, clarinet; Concerto for Wind 

Quintet/the Contemporary Chamber 

Ensemble of Rutgers University (personnel 

not indicated); and Strata for 

Bass Clarinet/Dennis Smylie, bass clarinet. 

This compilation from five CRI 

vinyl discs is a must for serious clarinetists. 

The Set and Strata have become 

classic repertoire of their genre 

from an important American composer 

for the clarinet. Dennis Smylie’s performance 

is amazing. 

CRI 773 — Robert X. Rodriquez: Les 

Niais Amoureux for violin, clarinet, 

cello and piano; Mario Davidovsky: 

Romancero for soprano, flute, clarinet, 

violin and cello; Mario Lavista: Madrigal 

for solo clarinet. The ensemble here 

is the Dallas-based Voices of Change 

with longtime member clarinetist Ross 

Powell. The program is by composers 

with Hispanic connections. The music 

is colorful and beautifully played, and 

vividly recorded — great sound. 

CRI 821 — Margaret Brouwer: Prelude 

and Vivace for clarinet and chamber 

orchestra/Daniel Silver, clarinet. This is 

the chamber orchestra version of the 

Concerto for Clarinet which was recorded 

by Richard Stoltzman and reviewed 

in these pages some years ago. 

This is an attractive and charming work 

played very effectively by Daniel Silver 

and the Cleveland Institute of Music 

New Music Ensemble. Great sound and 

performance — strongly recommended 

CRI 886 — Cindy Cox: Geode for flute, 

clarinet, cello, percussion and piano; 

and Primary Colors for violin, clarinet 

and piano/Peter Joseff, clarinet and bass 

clarinet (in Geode with the Earplay Ensemble). 

Imaginative pieces well performed 

— recommended.

CRI 724 — Philip Batstone: A Mother 

Goose Primer. This disc is a tribute to 

soprano Bethany Beardslee who is accompanied 

in this work by the U.C.L.A. 

Chamber Ensemble of eight members, 

who include clarinetists Gary Gray, 

Gary Foster, and bass clarinetist David 

Atkins. This disc is recommended not 

primarily for the excellent playing of 

the clarinetists (which indeed is the 

case), but for the amazing artistry displayed 

by Bethany Beardslee, one of 

the most significant performers of new 

music of her time. 

CRI 897 — Martin Boykan: Flume for 

clarinet and piano/Ian Greitzer, clarinet. 

This is very good sounding disc which 

presents New England-based Ian Greitzer 

in an impressive performance of an 

interesting 10-and-a-half minute work 

from 1998. 

CRI 775 — Howard Boatwright: Sonata 

for clarinet and piano/Michael Webster, 

clarinet. This sonata (completed in 

1983) is a significant addition to the 

repertory. It is captured here in an excellent 

live performance from the rather 

dry recording acoustic of the Everson 

Museum of Syracuse. 

CRI 835 — Ronald Caltabiano: Hexagons 

for wind quintet and piano/Alan R. 

Kay, clarinet; and Concertini (15 instrument 

version). The players of Hexagon 

are from the Hexagon Ensemble, 

based in New Jersey. The music presents 

striking sounds and a rugged 

rhythmic style, and the lyrical passages 

are particularly effective. Alan Kay 

sounds terrific in this significant new 

work in the wind quintet-piano repertoire. 

The Concertini is performed with 

total commitment by the stellar Group 

for Contemporary Music, with clarinetist 

Charles Neidich in the ensemble, 

conducted by the composer. 

CRI 743 — Harvey Sollberger: Chamber 

Variations; and Riding the Wind I. The 

Chamber Variations, recorded in 1964, 

is performed by 12 members of The 

Group for Contemporary Music conducted 

by Gunther Schuller. The clarinetist/bass 

clarinetist in this rugged serial 

work is Efrain Guigui. Riding the 

Wind I (1973) is a chamber concerto for 

flute and the remaining four members 

of the Da Capo Chamber Players, including 

clarinetist Allen Blustine. The 

recording is conducted by the composer 

and world-class flutist Harvey Sollberger, 

and features one of this writer’s favorite 

flutists — the sensational Patricia 

Spencer — who is not to be missed in 

this performance. 

CRI 721 — William Hibbard: Bass Trombone, 

Bass Clarinet, Harp/Charles West, 

bass clarinet. Included in a production 

entitled Gay American Composers featuring 

works by 13 composers, Hibbard’s 

piece is a tightly constructed fascinating 

work beautifully played and 

recorded. 

CRI 758 — Phillip Rhodes: Museum 

Pieces for clarinet and string quartet/ 

James Livingston, clarinet. This is a 

very good 17-and-a-half minute piece 

in six movements well played by Louisville 

Orchestra principal clarinetist, and 

the Louisville String Quartet. The work 

is programmatic in concept, related to 

Mussorgsky’s Pictures at an Exhibition 

or Gunther Schuller’s Seven Studies on 

Paul Klee — recommended. 

CRI 817 — Ernst Krenek: Trois Chansons, 

Op. 30a for soprano, clarinet and 

string quartet/William Nichols, clarinet; 

Richard Wernick: Haiku of Basho; and 

R. Murray Schafer: Requiems for the 

Party-Girl. Wernick and Schafer are 

with the Contemporary Chamber Players 

of the University of Chicago/Stanley 

Davis, clarinet, bass clarinet and E ♭ 

clarinet. This disc features soprano and 

longtime exponent of contemporary 

music Neva Pilgrim. (Further comment 

here is perhaps inappropriate.) 

CRI 665 — Frederic Goossen: Sonata for 

Clarinet and Piano/Scott Bridges, clarinet. 

This sonata from 1986 is a 17- 

minute work, substantial in content and 

at times quite virtuosic. It receives excellent 

playing by the facile Scott Bridges 

and pianist Patricia Perez Hood. 

CRI 735 — Marc-Antonio Consoli: Vuci 

Siculani for mezzo soprano and seven 

players/Bernard Yannotta, clarinet; and 

DI. VER. TI. MENTO for clarinet, alto 

saxophone, French horn, and trombone/Esther 

Lamneck, clarinet. These 

two Consoli pieces are if not somewhat 

at odds, products of different sound 

concepts. The Vuci Siculani is in great 

part exotic, with interwoven atonal 

melodies, sometimes chant-like, and 

generally transparent in texture. The 

piece for winds (subtitled Games for 4) 

is at times quite dense and rhythmically 

driven. The challenging upper altissimo 

playing by Esther Lamneck is skillfully 

handled. The colors and character of 

Vuci Siculani is sensually beautiful. 

CRI 705 — David Sanford: Chamber 

Concerto No. 3/Allen Blustine, clarinet; 

Morris Rosenzweig: Delta, the Perfect 

King (Chamber Concerto for Horn); 

Eric Moe: Kicking and Screaming. The 

Rosenzweig and Moe accompanying 

ensembles of 11 and 10 players respectively, 

include David Krakauer, clarinet, 

and Dennis Smylie, clarinet/bass clarinet 

(Rosenzweig), and Allen Blustine 

(Moe). The modestly scored (oboe, bassoon, 

violin, cello and piano) Sanford 

chamber concerto is expertly played by 

Allen Blustine. These are brilliant virtuoso 

performances by the highly regarded 

Speculum Musicae of New York. 

CRI 784 — Ezra Sims: “String Quartet 

No. 2” (1962) for flute, clarinet,violin, 

viola and cello; Elegie–nach Rilke for 

soprano, flute, clarinet, violin, viola 

and cello. Boston Musica Viva/William 

Wrzesien, clarinet. Inspite of the title of 

the first work, it is not a string quartet. 

This disc affords a rare listening experience 

of hearing the clarinet used in 

microtonal ensemble works. 

CRI 788 — George Tsontakis: Three 

Mood Sketches for wind quintet; Alvin 

Etler: Concerto for Violin and Wind 

Quintet; and Bruce Adolphe: Chiaroscuro 

for double wind quintet. Sylvan 

Winds/Alan R. Kay, clarinet, and Jo- 

Ann Sternberg, clarinet (in Adolphe). 

David Chaitkin: Summersong for 23 

winds/Charles Neidich, Robert Yamins, 

Steven Hartman, clarinets. Excellent 

American wind works beautifully performed 

and recorded — the first, only, 

and long overdue commercial recording 

of the Etler work. 

Additional available CRI recordings 

without critical comment: 

CRI 663 — Leroy Jenkins: Themes and 

Improvisations on the Blues/Don Byron, 

clarinet/Mary Ehrilich, bass clarinet. 

CRI 669 — Für Wolfgang Amadeus: 

music by Donald Crockett, Stephen 

Hartke, Libby Larsen, and Rand Steiger, 

with the LA Chamber Orchestra/ 

Gary Gray, clarinet. 


CRI 594 — John McLennan: Quintet for 

violin, viola, cello, clarinet and piano/ 

Peter Hadcock, clarinet. 

CRI 733 — The Music of Frank Wigglesworth: 

Summer Music for Bass Clarinet/ 

Evan Ziporyn, bass clarinet. 

CRI 736 — Ellsworth Milburn: Menil 

Antiphons for eight players/David Peck, 

clarinet. 

CRI 739 — Louis Karchin: Galactic Folds 

with New York New Music Ensemble/Jean 

Kopperud, clarinet; and Songs 

of Distance and Light/Jean Kopperud, 

bass clarinet. 

CRI 755 — Victoria Jordanova: Mute 

Dance for clarinet, harp, percussion and 

sampled sounds/Laura Carmichael, 

clarinet. 

CRI 787 — Morris Rosenzweig: Angels, 

Emeralds, and the Towers, with the 

Canyonland Ensemble/Jaren Hinckley, 

clarinet; On the Wings of Wind/Jaren 

Hinckley, clarinet and bass clarinet. 

CRI 790 — Robert Savage: Frost Free for 

clarinet and piano/Tim Smith, clarinet. 

CRI 793 — Seymour Shifrin: Serenade for 

Five Instruments/Charles Russo, clarinet. 

CRI 799 — Leo Kraft: Omagio for flute, 

clarinet, violin, viola and cello/Jean 

Kopperud, clarinet. 

CRI 841 — Martin Boykan: Echoes of 

Petrarch for flute, clarinet and piano/ 

William Kirkley, clarinet. 

CRI 842 — Walter Winslow: Mirror of 

Diana for solo clarinet/Jean Kopperud, 

clarinet. 

CRI 846 — Barton McLean: Ritual of the 

Dawn for flute, clarinet, harp, piano 

and percussion/E. Michael Richards, 

clarinet. 

CRI 849 — P.Q. Phan: Beyond the Mountains 

for clarinet, violin, cello and 

piano; and My Language for clarinet 

and piano/E. Michael Richards, clarinet. 

CRI 863 — Edward Smaldone: Two Sides 

of the Same Coin for clarinet and piano; 

and Trio: Dance and Nocturne/Allen 

Blustine, clarinet. 

CRI 866 — Music of Wadada Smith, Michael 

Fink, Bernardo Feldman, Barney 

Childs, Arthur Jarvinen, Shaun Naidoo, 

and Jim Fox/Marty Walker, bass 

clarinet. 

CRI 823 — Wendell Logan: Runagate, 

Runagate/ Suzanne Hickman, clarinet. 

CRI 860 — Hale Smith: Dialoquest 

Commentaries for seven players, with 

Boston Musica Viva/William Wrzesien, 

clarinet. 

CRI 885 — Eleanor Cory: Of Mere Being, 

St. Luke’s Chamber Ensemble/William 

Blount, clarinet; and Bouquet for eight 

players, New York New Music Ensemble/Jean 

Kopperud, clarinet. 

CRI 879 — Gerald Cohen: Generations 

And You Shall Tell Your Child for four 

players and chorus/David Abrams, 

clarinet. 

CRI 882 — Karl Korte: Matrix for wind 

quintet, piano, saxophone and percussion, 

with the New York Wind Quintet/David 

Glazer, clarinet. 

CRI 759 — Brian Fennelly: Evanescences, 

Da Capo Chamber Players/Allen Blustine, 

clarinet; and Wind Quintet, Dorian 

Quintet/Jerry Kirkbride, clarinet. 

CRI 889 — Kitty Brazelton: Sonata for the 

Inner Ear for seven players/Marty Walker, 

bass clarinet. 

CRI 833 — Louise Talma: 3 Duologues 

for clarinet and piano/Gregory Oakes, 

clarinet. 

CRI 598 — Elliott Schwarz: Chamber 

Concerto No. 2 for clarinet and nine 

instruments/Paul Zonn, clarinet; Extended 

Clarinet for clarinet and tape, 

and Souvenir for clarinet and piano/ 

Jerome Bunke, clarinet. 

CRI 881 — Dan Welcher: Phaedrus for 

clarinet, violin and piano; and Dante 

Dances for clarinet and piano/clarinetist 

unknown. 

CRI 779 — Ernst Bacon: Remembering 

Ansel Adams for clarinet and orchestra/Richard 

Stoltzman, clarinet. 

CRI 612 — Robert Starer: Concerto a Tre 

for clarinet, trumpet and trombone and 

strings/Joseph Rabbai, clarinet. 

CRI 870 — Robert Maggio: Riddle for 

violin, clarinet and piano/Nathan Williams, 

clarinet. 

CRI 862 — Jennifer Barker: The Enchanted 

Glen for clarinet and piano/Melanie 

Richards, clarinet. 

CRI 565 — David Olan: Composition for 

Clarinet and Tape/Laura Flax, clarinet. 

Good listening! 

The Clarinet 

PUBLICATION SCHEDULE 

The magazine is usually mailed 

during the last week of Feb ruary, 

May, August and No vem ber. De - 

livery time within North America 

is nor mally 10–14 days, while airmail 

delivery time outside North 

America is 7–10 days. 

Page 16 

THE CLARINET


JEUNE ORCHESTRE 

ATLANTIQUE 

DISCOVERY COURSE 

A Report by Marie Ross 

In October 2005 the Jeune Orchestre 

Atlantique held its first week-long 

discovery course at the Abbaye aux 

Dames in Saintes, France. The Jeune Or - 

chestre Atlantique is a classical period 

instrument training orchestra. This special 

course, an idea of the clarinetist Jane 

Booth, was designed for musicians used to 

playing on modern instruments to learn 

about and gain experience on period in - 

struments. Ms. Booth plays principal clarinet 

in the Orchestre des Champs-Ély sées 

and is the education manager for the 

orchestra as well as an avid teacher. 

The course included both winds and 

strings, and was taught by members of 

the Orchestre des Champs-Élysées, one of 

Page 18 

Europe’s premiere period-instrument or - 

chestras. All of the teachers were proficient 

in both French and English and 

always repeated everything in both languages 

for the sake of the many international 

students. 

Jane Booth brought many classical 

reproduction clarinets with various numbers 

of keys for the participants to play. 

There were also basset clarinets and basset 

horns which were passed around amongst 

the group. The chance to play on so many 

rare clarinets would be amazing for any 

clarinetist, but this course was about forgetting 

the virtuosic technicalities of an 

instrument and focusing on the real ex - 

pression of music. The students learned 

from these truly masterful musicians how 

a classical-period performer would make 

a phrase, something that has been lost 

through centuries of musical evolution. 

One might think that learning to play 

early clarinets with only a few keys would 

be a huge shock compared to the modern 

clarinet. It is a shock, but not in the way 

THE CLARINET 

one might expect. The first night many lips 

were swollen from biting the clarinet 

mouthpiece trying to force a “good” modern 

sound out of the instrument. But soon 

the participants were taught to relax and 

play with the unique and personal colors of 

the classical instruments. These instruments 

are so much more flexible, and, as a 

result, a player can achieve different pitches 

and colors as a piece demands. These 

ideas are all lost today with the generically 

perfect sound of modern instruments, 

which have evolved to the point of complete 

stability and inflexibility. 

Each day there were lectures given by 

the teachers on various topics of period 

music performance. One of the highlights 

was Marcel Ponseele speaking about how 

he made his own oboes. At first when he 

said this would be his topic, a few students 

thought he was joking because the idea of 

making your own instrument is completely 

foreign to most modern musicians. With 

this came the realization that as musicians 

living in our modern world, perhaps we 

can never really understand classicalperiod 

music as the musicians of the time 

experienced it. He brought oboes in all 

stages of assembly, some of his tools, and 

even demonstrated how he constructs the 

curved oboe da caccia. Seeing the raw 

wood through its different stages as it was 

being crafted into an oboe by one man as 

opposed to the impersonal masses of modern 

instruments pumped out by factories 

was the essence of what period-instrument 

playing is about. 

Though a complete expert on the clarinet, 

period and modern, Jane Booth 

proved to be more of a musician than 

merely a clarinet player. The students 

spent hours frantically writing as Ms. 

Booth talked about clarinet makers or different 

equipment she experimented with to 

achieve certain results. But one definitely 

gets the feeling that to her the clarinet is 

only an instrument used to express her 

musical and creative ideas. This was a pervasive 

theme of the course: that period 

instrumentalists are seeking an individual 

creativity that is too often lost in the cold 

technical virtuosity that is prized today. 

The afternoons were filled with trying 

instruments, chamber music rehearsals and

coachings with various faculty, orchestra 

rehearsals conducted by violinist Adrian 

Chamorro, and both master classes and 

individual lessons with Ms. Booth. By the 

end of the week the group was able to perform 

a concert at a local church which in - 

cluded the first movement of Haydn’s 

Sym phony No. 104 and several chamber 

pieces, including the Beethoven Trio, Op. 

87, and a William Boyce quartet arranged 

for three clarinets and bassoon. 

The students came away from this ex - 

perience with a hunger to perform music 

solely on the original instruments. After 

attending this course one has to wonder 

how we could ever perform a piece like 

Mozart’s Die Zauberflöte, originally re - 

quiring the unique colors and tones of four 

different clarinets including basset horns, 

on anything but period instruments. 

2006 FARGO-MOORHEAD 

CLARINET EXTRAVAGANZA 

A Report by Krista Bjornson 

and Nicole Penas 

For the second annual Fargo-Moor - 

head Clarinet Extravaganza, many 

of the area’s up-and-coming clarinetists, 

ranging anywhere from sixthgraders 

to seasoned performers, engaged in 

the festivities of the day. Held in North 

Dakota State University’s Reineke Fine 

Arts Center, the event included master 

classes led by Burt Hara, principal clarinetist 

of the Minnesota Orchestra, clinic 

sessions led by some of the local clarinet 

faculty, and also participation in a full clarinet 

choir. The 40-member choir ended the 

day by performing in the Festival Concert 

Hall lobby, welcoming audience members 

to a Fargo-Moorhead Symphony concert 

that featured Burt Hara. 

The day began at 8:30 a.m. with a brief 

welcome from the host of the event, Dr. 

Michael Thrasher, professor of clarinet at 

North Dakota State University. Attendees 

then took part in the first clarinet choir 

rehearsal, led by Dr. Leigh Wakefield of 

Concordia College. Participants included 

junior high and high school students, college 

students, teachers, and community 

members. The ensemble experience was a 

great opportunity for the younger gen - 

eration of clarinetists to learn from the 

more experienced, as well as a great op - 

portunity for those who are older to pass 

on their knowledge. 

The master classes took place in the 

deeply resonant Beckwith Recital Hall, 

where Burt Hara danced around the stage 

to show his overwhelming enthusiasm for 

music and teaching. The master class featured 

a wide range of performers and rep - 

ertoire, including works by Weber, Mo - 

zart, Brahms, Saint-Saëns and Sean Os - 

born. After listening intently to every performance, 

Hara dove head first into the 

emotional depths of the music, asking each 

performer, “So what is the character of 

this piece” He often encouraged each 

performer to completely fill the room with 

sound, telling them that the people in the 

back row would raise their hands if the 

sound became excessive. Hara was also 

insistent on personally playing on each 

performer’s own clarinet, saying, “I feel 

it’s important to show each student that 

his or her individual set-up works,” implying 

that there isn’t a specific kind of clarinet 

or certain equipment that one needs to 

have. Hara also emphasized the need to 

“feed your brain,” by relaxing and breathing 

properly, instead of taking short shallow 

breaths. 

After a relaxing lunch, participants had 

the option of attending one of three clinics 

covering various aspects of clarinet performance. 

Dr. Catherine Tesch of Min ne - 

sota State University at Moorhead discussed 

the fundamentals of clarinet tone 

production, while Mrs. Marianne Huttlin 

of South High School (Fargo, ND) ex - 

plored reed selection and adjustment. Dr. 

Thrasher (NDSU) dealt with the basics of 

clarinet articulation and strategies for di - 

ag nosing and improving specific articulation-related 

problems. 

The Clarinet Extravaganza came to an 

enjoyable conclusion with a performance 

by the Fargo-Moorhead Symphony Or - 

chestra. The concert featured outstanding 

playing by clarinetists Leigh Wakefield 

and Marianne Huttlin, particularly in Mi - 

chael Colgrass’s Letters from Mozart. In 

the Mozart Concerto, Burt Hara presented 

a performance of the highest artistic 

standards, resulting in an immediate 

stand ing ovation by the audience. The 

event was a great success, leaving the 

area’s clarinetists to look forward to next 

year’s Extravaganza! 

WEST POINT 

CLARINET SUMMIT 

A Report by Staff Sergeant 

Diana Cassar-Uhl 

The United States Military Academy 

Band at West Point hosted the first 

West Point Clarinet Summit on 

March 17 and 18, 2006, at West Point. 

Clarinetists and aficionados from as far 

away as Sweden, Texas, Ohio and Virginia 

joined the local crowd in two full days of 

information and performances. The Sum - 

mit, conceived by Sergeant First Class 

Shawn Herndon, provided an opportunity 

for the Academy Band’s clarinet section to 

share its collective depth and love for the 

clarinet with the public. 

Prior to the start of the event, four young 

artists were selected to come and audition 

in the final round of the Summit’s Young 

Artists’ Competition. Jennifer Schundler, a 

student at the University of Florida; Cory 

Thompson, a graduate student at the Uni - 

versity of Southern Mississippi; and Mae - 

gan McHugh, a student at the University of 

Connecticut, were runners-up in the competition 

and earned the opportunity to perform 

in master classes with the featured 

artists of the event. Georgiy Borisov, a student 

at the Manhattan School of Music, 

won first place, a new mouthpiece from 

Jim Pyne, and performed Rossini’s In - 

troduction, Theme, and Variations with the 

Academy Band on the Summit’s closing 

gala concert. 

On Friday, participants were treated to 

an open rehearsal of the USMA Concert 

Band, featuring Stephen Girko (Austin 

Sym phony), Larry Combs (Chicago Sym - 

phony), Mr. Borisov, and the band’s own 

principal clarinetist, Sergeant First Class 

John Parrette. A mouthpiece discussion, 

led by Jim Pyne, informed attendees about 

the basics of mouthpiece construction and 

how to choose the best fit for your clarinet. 

A recital by the Academy Clarinet Quartet 

(Master Sergeant Rachel Grasso, Sergeants 

First Class Shawn Herndon and John Par - 

rette, and Staff Sergeant Sam Kaest ner), 

featuring transcriptions by members of the 

group of Bartók and Beethoven string 

quar tets, impressed the audience. Mr. Gir - 

ko led a master class, featuring two of the 

young artists. The audience experienced 

the depth of the West Point Band’s clarinet 


(l to r) Lieutenant Colonel Timothy J. Holtan, Larry Combs, Sergeant First Class 

John Parrette, and Stephen Girko 

section at the first of two potpourri recitals, 

featuring Staff Sergeants Diana Cassar-Uhl 

and Jeff Geller, and Sergeant First Class 

Christopher Jones. Staff Sergeant Sam 

Kaestner presented an hour-long discussion 

about the bass clarinet just prior to 

Mr. Girko’s feature recital. Girko and ac - 

companist Dr. Ruthanne Schempf delighted 

the audience with their performance of 

Bernstein’s Sonata, the Debussy Première 

Rhapsody, Babin’s Hillandale Waltzes, 

and, in a special performance with former 

student Sergeant First Class Shawn Hern - 

don, Ponchielli’s Il Convegno. After dinner, 

the evening’s final event began — Mr. 

Combs’ all-Mozart feature recital. Ac com - 

panied by pianist Evan Solomon and violist 

Noriko Futagami Herndon, Combs 

delivered an unforgettable performance of 

the Kegelstadt trio, followed by a trans - 

cription (by SFC John Parrette) of the 

Quintet in C Minor with the Academy 

Clarinet Quartet. 

Saturday began with a recital by the 

West Point Clarinet Quartet (Sergeant First 

Class Christopher Jones, Staff Sergeants 

Back Issues 

of The Clarinet 

Back-issue order forms for The Clar inet 

may now be downloaded from the I.C.A. 

Web site: . Copies 

may also be re quested by con tacting: 

James Gillespie 

College of Music 

University of North Texas 

P.O. Box 311367 

Denton, TX 76203-1367 

E-mail: 

Diana Cassar-Uhl, Jeff Geller and Sinclair 

Hackett), featuring a program of original 

music for clarinet quartet by Paul Harvey, 

Michael Henry, Pierre Max Dubois and 

Alfred Uhl. The second potpourri recital 

followed, featuring Master Sergeant Ra - 

chel Grasso and Staff Sergeants Jennie 

Tibbs and Erin Foster. After lunch, Mr. 

Combs led the other two young artists in a 

master class. A panel discussion led by 

three members of the Academy Band 

about life in a military band gave participants 

the opportunity to ask questions 

about the career path we’ve chosen. A 

clarinet choir recital followed, conducted 

by the band’s Executive Officer, Captain 

Treg Ancelet, Sergeant First Class Chris - 

to pher Jones, and Staff Sergeant Chris 

Ret tie, a saxophonist in the Academy 

Band. The audience was treated to a di - 

verse program of transcriptions of music 

by Mozart and Holst, as well as original 

compositions for clarinet choir by Peter 

Schickele and Martin Ellerby. Mr. Combs 

and Mr. Girko led a discussion about their 

careers as or ches tral clarinetists to round 

out the afternoon. 

Saturday evening’s gala concert event, 

conducted by Lieutenant Colonel Timothy 

J. Holton, was the culmination of the two 

days of great music. Prior to the concert, 

Dr. Dana Wilson, professor of music at 

Ithaca College, presented a lecture on his 

work Liquid Ebony, which he transcribed 

for clarinet and wind ensemble for the 

West Point Clarinet Summit. (The piece 

was premiered, with piano, by Larry 

Combs at the 2003 ClarinetFest® in Salt 

Lake City.) The concert, which also featured 

such traditional wind ensemble mu - 

sic as Molly on the Shore and The Klax on, 

showcased the guest soloists in top form. 

Georgiy Borisov, the winner of the Young 

Artists’ Competition, displayed masterful 

control and technique for one so young in 

his performance of Rossini’s Introduction, 

Theme, and Variations. Steve Girko treated 

the audience to a dramatic ride through 

Bassi’s Fantasia on Rigoletto, and Ser - 

geant First Class John Parrette wowed the 

audience with his versatility in his performance 

of Morton Gould’s Derivations. 

Larry Combs brought the concert to a 

rousing finish by playing Liquid Ebony. 

The clarinetists in the audience were excited, 

impressed, and motivated. One was 

overheard exclaiming, “I have to go home 

and practice right now!” 

Page 20 

THE CLARINET


“Historically Speaking” is a feature of 

The Clarinet offered in response to numerous 

inquiries received by the editorial staff 

about clarinets. Most of the information 

will be based on sources available at the 

National Music Museum located on The 

Uni versity of South Dakota campus in Ver - 

million. Please send your e-mail inquiries 

to Deborah Check Reeves at . 

The compromise in placement of the 

clarinet tone hole to produce an 

acceptable throat B ♭ and yet facilitate 

easy production of the 12ths has been 

the subject of debate and experimentation 

since the invention of the clarinet. In 1992, 

John Kuehn contributed an article to The 

Clarinet (Nov./Dec. 1992, Vol. 20, No. 1, 

pp. 24–25) called “The Throat B-flat” that 

outlined the designs of a variety of B ♭ me - 

chanisms that were invented in the 20th 

century. This article will examine in detail 

one of those mechanisms. 

In 1932, Leon Leblanc applied for a 

U.S. patent for, among other things, his 

throat B ♭ mechanism. 

The patent was granted 

on September 12, 

1933, and was issued 

number 1,926,489. 

Simply referred to as 

“Patented B-flat me - 

chanism” in its advertising, 

Leblanc offered 

this feature on certain 

models of its clarinets 

until about 1956. One 

of those clarinets that 

utilize this mechanism 

is found among the 

more than 400 clarinets 

in the collection 

of the late Sir Ni c - 

holas Shackleton of 

Cam bridge, England 

(see Photo 1). From 

the top of the barrel to 

the bottom of the bell, 

this clarinet is 598 

mm long. The bore 

measures from 14.7 

mm to 14.9 mm. It is 

in four sections and is 

made from grenadilla 

by 

Deborah 

Check Reeves 

Photo 2: Articulated G ♯ 2 

with silver keys, rings, and ferrules. It has 

18 keys and seven rings. The additional 

ring is on the top joint third tone hole and 

is part of the articulated g ♯2 (see Photo 2) 

and the fork b ♭2 (see Photo 3) mechanisms. 

There is an extra “banana” key on the 

lower joint between the first and second 

tone holes that operates the g ♯2 trill. Le - 

blanc’s patent B ♭ mechanism employs two 

separate tone holes on the back side of the 

top joint (see Photo 4). Here is a register 

tone hole located in a more acoustically 

proper place higher on the joint. It is also 

Page 22 

Photo 1: 

Leblanc clarinet 

Photo 3: Clarinet front 

THE CLARINET 

Photo 4: B ♭ mechanism

such to be in an accoustically correct position 

to produce a clear, true B ♭1 . On the 

front of this joint is made a connecting 

lever that operates off the throat a 1 key (see 

Photo 5). When the a touchpiece is de - 

pressed, the connecting lever is engaged so 

that when the register touchpiece is de - 

pressed, the new b ♭ tonehole is opened. 

While keeping the left-hand thumb on the 

register key, but letting go the a key (as if 

to go from b ♭1 to b ♮1 ), the b ♭1 tonehole closes 

and the higher positioned register tonehole 

opens. The connecting lever is disengaged 

by letting go of the a 1 touchpiece. In this 

mechanism, the register vent and b ♭1 tonehole 

work independently. This particular 

“patent B-flat” mechanism should not be 

confused with the “S-K” mechanism in - 

vented by William Stubbins and Frank 

Kas par. It was patented in 1950 (U.S. pa - 

tent #2,508,550) and used on some later 

models of Leblanc’s clarinets than those 

cited here. 

Many thanks go to Sir Nicholas 

Shack leton for his advice, expertise, generosity, 

and kindness. This article is ded - 

icated to him in loving memory. He is 

sadly missed. 

Photo 5: Throat A key 

of a smaller size to help make it more 

easily produce the third partial notes. Un - 

derneath the rod that goes to the register 

key touchpiece is placed a new, separate 

tone hole for throat b ♭ . This hole is drilled 


y Paul Harris 

Readers who know the name of 

Angela Fussell will be saddened to 

hear that she died a few days ago. 

I knew Angela well — we often worked 

to gether. The last time was up in the 

depths of North Yorkshire at a gathering of 

the Association of Woodwind Teachers of 

which she was Chairman. She had also 

been a highly respected chairman of the 

Clarinet and Saxophone Society of Great 

Britain for a good number of years. She 

was a very thoughtful and highly regarded 

teacher whose down-to-earth and practical 

advice was sought by many. She taught 

at the Junior Department of the Royal Col - 

lege of Music, Colchester Institute and at 

the famous Eton College where she will be 

much missed. 

You can hardly have missed the fact 

that this year is Mozart’s 250th birthday. 

The U.K. broadcasting classical music station 

Classic FM held a vote for the na tion’s 

favorite Mozart work. Over a hundred 

thousand voted, and the clear winner was 

the Clarinet Concerto. As I write, I’m listening 

to Jack Brymer’s splendid recording 

with the LSO under Colin Davis. His 

warm and resonant Boosey & Hawkes 

“10-10” sound and his deep understanding 

of this music still make it a wonderful performance 

that we can learn much from. 

Listening to this also reminds me of the 

Page 24 

THE CLARINET

last time I saw Jack. I was teaching young 

Julian Bliss and we went to see the grand 

old man in his home in Surrey. Julian (who 

must have been about eight at the time!) 

gave a stunning performance of the Ros - 

sini Variations with a wonderful pianist 

from Kuala Lumpor, Tuck May Loke. Jack 

was delighted! My own teacher, John Da - 

vies (a great friend of Jack’s), came too. 

The two of them reminisced happily. In the 

late ’30s John had his own jazz band (which 

played for afternoon tea dances), and he 

often employed Jack on alto saxophone. 

Jack was teaching physical education at 

Willowfield School in Eastbourne and this 

was all before his meteoric rise to fame! 

Eight or so years on and Julian has now 

himself got many exciting engagements 

for the Mozart Concerto over the next few 

months. More on this soon! 

Another important birthday this year is, 

of course, Malcolm Arnold’s 85th. There’s 

going to be a big festival of his music at 

the Royal and Derngate in Northampton 

on October 21 (Malcolm’s actual birthday) 

and 22. I’ve promised to tell you more 

about this; now that all the plans are set, I 

can. There will be about 14 events! It all 

begins with a wind chamber music recital 

which will include the Wind Quintet and 

all the solo Fantasies. The first day will 

end with The Malcolm Arnold Concerto 

Prize, featuring six of his wind concertos 

(including both clarinet concertos). The 

soloists are all from the six major conservatoires 

and these should prove to be outstanding 

performances. The judges will 

include Julian Lloyd Webber, Emma 

Johnson and David Mellor (a former politician 

and now regular broadcaster on Clas - 

sic FM.) The second day ends with a big 

gala concert given by the Royal Phil har - 

monic Orchestra (and we’re hoping that 

one of the Royal family will be attending). 

It will include Malcolm’s Grand Grand 

Overture which he wrote for the very first 

Hoffnung Concert (also celebrating its 

own 50th birthday!). In the afternoon 

Annetta Hoffnung (Gerard’s wife) is coming 

to speak about the very special musical 

relationship that Malcolm and Gerard en - 

joyed. I do hope that some of you will come 

over for this wonderful event. Northamp - 

ton is very well placed, being near Oxford, 

Cambridge and Stratford — perfect for a 

few days sightseeing. Do e-mail me at 

if you’d like 

more information. 

Contacts for 

The Clarinet: 

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 

P.O. Box 311367 

Denton, Texas 76203-1367 

E-mail: 

Send all printed materials (music, books, etc.) 

intended for review in The Clarinet to: 

Joseph Messenger, Editor of Reviews 

Department of Music, Iowa State University 

Ames, Iowa 50011 

E-mail: 

Send all recordings intended for re view 


William Nichols, Audio Review Editor 

School of Music, 

University of Louisiana at Monroe 

Monroe, Louisiana 71209-0250 

E-mail: 

Send all inquiries about advertising, 

notices of change of address, inquiries about 

I.C.A. membership, missing issues, etc., to: 

So Rhee, Executive Director 

P.O. Box 1310 

Lyons, Colorado 80540 

E-mail: 


Greetings from West Point! As I 

write, the clarinet section here at 

the U.S.M.A. band is hard at work 

preparing for its first West Point Clarinet 

Summit, featuring every member of the 

sec tion in a performance capacity, as well 

as special guests (and former U.S.M.A. 

bandsmen) Larry Combs and Steve Girko. 

A report appears elsewhere in this issue. 

Part of the lead-in to the Summit was a 

clarinet choir recital, presented on Feb ru - 

ary 26th. Sergeant First Class Christopher 

Jones selected the music and conducted 

the group on a few of the selections, and 

performed on bass clarinet as well as on 

B ♭ clarinet! The program featured an ar - 

range ment of Holst’s First Suite for Mili - 

tary Band in E ♭ , an arrangement by Ser - 

geant First Class John Parrette of Mo zart’s 

Eine Kleine Nachtmusik, Peter Schic kele 

(P.D.Q. Bach)’s Monochrome, as well as 

other music set for clarinet choir. 

I was very excited to hear from a few 

of my fellow clarinetists in uniform over 

the last few months. Senior Chief Musi - 

cian Thomas Labadorf of the United States 

Coast Guard band in New London, Con - 

nec ticut, was featured in recital at Con nec - 

ticut College, where he is a faculty member. 

The recital, which took place on Feb - 

ruary 16, showcased Labadorf in works by 

Richard Strauss, Francisco Mignone and 

Dan Welcher; Labadorf and a string quartet 

ended the program with a performance 

of the Brahms Quintet. In addition to his 

work at the Coast Guard Band, Tom is the 

principal clarinetist on the Waterbury Sym - 

phony in Connecticut. 

Master Sergeant Melinda Burts, a member 

of the clarinet section of the United 

States Air Force Band, wrote to tell us 

about some of the goings-on in her section. 

The band, which works out of Bolling Air 

Force base in our nation’s capitol, comprises 

eight unique performing ensembles 

— The Air Force Strings, Airmen of Note, 

Ceremonial Brass, Concert Band, Max Im - 

pact, High Flight, Silver Wings and Sing - 

ing Sergeants. The Air Force Band performs 

a broad variety of musical genres 

from classical and jazz, to country and 

rock. Throughout the years, components of 

the band have journeyed to Europe, South 

America, Asia and the Middle East, performing 

in more than 50 countries. The 

United States Air Force Band provides priority 

musical support for the President of 

the United States, Secretary of Defense, 

Page 26 

by Staff Sergeant Diana Cassar-Uhl, 

United States Military Academy Band 

Secretary of the Air Force, Chief of Staff 

of the Air Force, and other senior military 

and government leaders. It supports the 

global Air Force mission by providing professional 

musical products and services for 

official military, troop morale, recruiting, 

and community relations events. Through 

its public concerts, recordings, parades and 

ceremonies, The United States Air Force 

Band inspires patriotism, projects a positive 

Air Force image and preserves our na - 

tional heritage. 

Senior Master Sergeant Carl Long, 

Con certmaster of The United States Air 

Force Concert Band, is also the principal 

clarinetist of the newly formed U.S.A.F. 

Band Chamber Orchestra. The orchestra 

recently performed at Georgetown Uni ver - 

sity and Bishop Ireton High School, and 

plans to branch out with many more performances 

in the future. Long has also 

been spending time as a studio musician 

at Al fred Music Studio. He can be heard 

on ed u cational recordings of band and or - 

chestra transcriptions of music from Harry 

Pot ter and the Goblet of Fire that can be 

down loaded from the Alfred Music Web 

site. In addition, Carl is currently in his 

10th season as the conductor of the Prince 

William Symphony Orchestra. 

Master Sergeant Shawn Buck is a found - 

ing member and clarinetist with the re - 

cently formed Inscape Chamber Orches tra, 

an ensemble dedicated to the performance 

of traditional and avant-garde music for 

orchestra and chamber ensemble that performs 

throughout the Washington, D.C. 

area. Their recent program featuring Stra - 

vinsky’s A Soldier’s Tale, Copland’s Mu - 

sic for the Theater and Dvorák’s Serenade 

was very well received. 

As part of The U.S.A.F. Band’s Cham - 

ber Players Series, the Clarinet Quartet has 

been busy with three recitals over the last 

few months in Alexandria and Winchester, 

THE CLARINET 

Virginia. The members of the group are 

Master Sergeant John Romano, Master 

Sergeant Brian McCurdy, Technical Ser - 

geant Darrin Thiriot and Technical Ser - 

geant Brooke Emery. They never fail to 

“Wow!” audiences with their interesting 

and creative arrangements for clarinet 

quar tet by MSgt Romano. And Darrin 

Thiriot, when he’s not on duty with the 

band, is pursuing a Doctorate in Clarinet 

Performance at Catholic University. Also 

as part of the Chamber Players Series, 

Tech nical Sergeant Jennifer Dashnaw gave 

a fantastic clarinet recital at The George 

Washington Masonic Memorial in Alex an - 

dria, also featuring Senior Master Sergeant 

Elizabeth Campeau. The U.S.A.F. Band’s 

woodwind quintet gave a recital at the An - 

derson House in Washington, D.C. Tech - 

nical Sergeant Julianna Arnold is the clarinetist 

with this group, which also performed 

a recital at the Florida Music Edu - 

cation Association convention last fall. 

And last but certainly not least, The 

U.SA.F. Band’s clarinet section welcomed 

its newest member, Technical Sergeant 

Ben jamin Bowers, who finished Basic 

Training and joined the group in Wash ing - 

ton just before Christmas. Ben is originally 

from Falls Church, VA, and has a Ba che - 

lor of Music in Clarinet Performance from 

the University of Cincinnati College-Con - 

ser vatory of Music. He also completed an 

Artist Diploma from The Glenn Gould 

School of the Royal Conservatory of Mu - 

sic in Toronto, Canada. 

I was delighted to receive a letter from 

I.C.A. member Barry Jackson, who shared 

with me that his love for band music and 

the band experience did not come easily to 

him, as I indicated in my last column was 

the case for me. After a dismal high school 

band experience (and a not terribly inspiring 

four years of college), Barry found the 

good fortune to play in a community band

in Birmingham, Alabama under Dr. Don 

Stauffer, the retired conductor of the Uni - 

ted States Navy Band. Dr. Stauffer in - 

stilled in Barry an appreciation for band 

music and the differences in how a clarinetist 

might play in a band from orchestral 

playing. 

I hope that some of you might be 

inspired to write to me as well! I would be 

happy to share events and achievements of 

my special bands colleagues, as well as 

answer questions you may have about life 

in the U.S. military bands. My e-mail ad - 

dress is . 

C O R R E C T I O N : 

In Christine A. Zimmerman’s report, 

“Vandoren/Buffet Clarinet Choir Fes ti - 

val in Atlanta Celebrates Milestones and 

Mu sicianship,” in the March 2006 issue 

(page 38), the last sentence of the first 

paragraph should have read: “The free 

event — celebrating 100 years of Van - 

dor en and 180 years of Buffet Crampon 

— was hosted by the Atlanta Clarinet 

Association with the support and direction 

of the University of Florida.” 


y Edward Palanker 

PHIL ROVNER OF 

ROVNER PRODUCTS, 

TIMONIUM, MARYLAND 

Phil Rovner and I met at Towson 

University where we were having 

the American Single Reed Work - 

shops in the early 1980s. He introduced 

himself to me and asked me to give my 

opinion of his new ligature design. At the 

time I was using the Gigliotti ligature so I 

was already using an unconventional looking 

ligature. When I tried Phil’s ligature it 

was love at first play. It gave me everything 

I liked about the Gigliotti plus a 

warmer and more flexible tone quality. It 

seemed to let my reed play more freely, 

dampening out the highs and playing darker. 

I’ve been using one ever since, al - 

though I have changed styles from time to 

time. Phil always sends me, as well as several 

others, his new designs to comment 

on, and when I think it’s better than the 

Axis Milling Machine, computer controlled 

one I am using at the time, I tell him and 

make the switch. 

I offered to help him get other professional 

clarinetists’ opinions of his new ligature 

and sent one to orchestra players 

around the country. It was interesting to 

hear what many of them said, and I warned 

Phil that clarinet players are a conservative 

lot. That has seemed to have changed over 

the years. Back in the early ’80s almost 

everyone used a silver metal ligature. Al - 

though we got many positive comments 

and some players soon began using it, I did 

get some negative ones as well. Many just 

said it looked too strange to use, and I told 

him, “I told you so.” My two favorite comments 

were from a principal player on the 

West Coast who said it looks like it should 

work, but it simply doesn’t. Another principal 

player from the East Coast said he 

really liked it but feels he needs to play on 

the equipment he was hired on. That’s why 

he was hired. Needless to say, within a few 

years it really caught on, and he began selling 

thousands of them. They became especially 

popular with educators because they 

would not break or bend out of shape if 

dropped or stepped on, as so many young 

students are prone to do and as he produced 

more he was able to bring the price 

down. I’m amazed how many ligatures 

there are on the market today. When I was 

a student in the late ’50s and early ’60s you 

could only find a few types. Now there are 

dozens. Of course, Van doren reeds came in 

boxes of 25 then too. WOW! 

* * * * * 

EP: Tell us about your background as a 

single-reed player. Who did you study 

and perform with and are you still an 

active performer 

PR: I studied with Ignatius Gennusa on 

clarinet, Joe Allard and Albert Hollo - 

way on saxophone, Earl Esslinger on 

saxophone and clarinet, Britton Johnson 

on flute, Mark Thomas on flute, John 

Thompson on keyboard and theory, and 

Rudy Massey on arranging. I’ve performed 

in many big bands, played club 

dates, nightclubs, theatres, and the 29th 

division military band. I’m still active 

performing miscellaneous gigs. 

EP: I understand you are also an engineer. 

What’s your background in that 

field 

PR: I attended McCoy College of the 

Johns Hopkins University in Mechan i - 

cal Engineering and took courses with 

ICS and RCA in Electronics. Some of 

my engineering work experience in - 

clud ed ACF Electronics, General Elec - 

tric Co., Martin-Marietta Corp. electronic 

division and the Bendix Corp. 

radio division, to name a few. 

EP: How did you get the idea to make a 

new type of ligature, with the innovative 

material you use 

PR: My early experience on saxophone 

was first on alto sax. When I took up 

the tenor sax, I had great difficulty playing 

it well. While working on an engineering 

project in 1973, in which a rubberized 

fabric was being utilized, I had 

the thought that maybe a ligature made 

of that material would help me to play 

the tenor better. The first one had the 

same basic configuration as the “Dark” 

model, and it improved my tenor playing 

significantly. Because of its design, 

it was easy to implement, and it helped 

to free up my saxophone performance. 

Page 28 

THE CLARINET

Michael Gerchack and Phil Rovner with an Axis Machining Center 

Ligature assembly 

Barry, Joan and Phil in the ligatures room 

EP: Why do you make so many different 

types 

PR: Each one has specific attributes that 

makes it more preferable to some players 

than others. This broadens the marketability 

of the product. I currently 

produce the Dark, Light, MK III, EVO 

and the Eddie Daniels models. I’m al - 

ways working on making improvements 

on the design and the material, 

so I never know how many I’ll produce 

in the future. 

EP: What do you think about the copycat 

ligatures Yours is probably the most 

cop ied type on the market today. 

PR: I think players and manufacturers recognized 

the superiority of our ligature 

and began to copy the basic design. At 

the time these others came onto the 

market, some had characteristic that I 

thought were superior to ours, which 

mo tivated us to upgrade our own de - 

sign. Also, each one helps to establish 

greater credibility for our type of ligature, 

and therefore ultimately benefits 

our sales. It took some time for our 

design to be accepted by the professional 

community, but that has now 

changed significantly. 

EP: Did you ever think it would catch on 

the way it did 

PR: Although there were some local players 

who seemed to like it at first, the 

first local storeowners I ap proached to 

take it on tried to dissuade me with this 

comment,”Why do you want to waste 

your time trying to sell a $7.50 ligature 

I’ve got metal ligatures for sale 

here at $2.00 each.” Of course, that 

was in the early 1980s. Although it 

proved viable, it took me about 12 years 

to come to believe I could earn a living 

making ligatures. 

EP: What else does your company manufacture 

and do you have any plans to 

man ufacture anything new in the 

future 

PR: We currently manufacture a complete 

line of very popular saxophone mouthpieces 

and are beginning to produce a 

line of clarinet mouthpieces. We hope 

to re-initiate production of a clarinet 

barrel and synthetic reeds that we’ve 

sold in the past. We also have some 

spe cial machinery that we’ve designed 

and built for our manufacturing pro - 

cesses that we may produce for use by 

other manufacturers. 


Drying tumblers 

EP: Thank you for your time, Phil. I wish 

you the best of luck with your new clarinet 

and saxophone products. 

PR: My pleasure Eddie, and by the way, 

how do you like my latest model I sent 

you to try 

EP: I love it; I’m using it every day now. 

* * * * * 

Rovner Products, formerly Power Re - 

search Products, was founded in 1974 as 

an engineering, development and manufacturing 

company whose objectives are to 

design and market new and unique electromechanical 

products and provide creative 

engineering assistance to other companies 

on a temporary basis. 

Forming cradles 

ABOUT THE WRITER… 

Edward Palanker is a member of the 

Baltimore Symphony Orchestra and is on 

the faculty of the Peabody Conservatory 

of Music where he teaches clarinet and 

bass clarinet. He has been a frequent contributor 

to The Clarinet. 

Page 30 

THE CLARINET

Call for Proposals: 

CLARINETFEST® 2007 

VANCOUVER, BRITISH COLUMBIA, CANADA 

JULY 4–8, 2007 

2007 will take place on the campus of the 

ClarinetFest® 

University of British Columbia. Co-sponsored by the UBC 

School of Music, the conference will be presented in the 

world-renowned Chan Center for the Performing Arts. The spectacular 

UBC campus is a “must-see” for any visitor to Vancouver 

— where snow-capped mountains meet the ocean, and breathtaking 

vistas greet you around every corner. More information will 

follow in future issues of The Clarinet and on our Web site: 

. 

If you are interested in sending in a presentation proposal, please 

download and complete the Call-for-Proposals Application Form from 

and send it to the address below. Recordings and 

written requests will be accepted through September 1, 2006, and will 

be reviewed by the committee. 

Wes Foster, Artistic Director 

Cris Inguanti, Co-Artistic Director 

ClarinetFest® 2007 

UBC–School of Music 

6361 Memorial Road 

Vancouver, BC V6T 1Z2 Canada 

 


Readers of the previous issues of 

The Clarinet know that this is the 

15th part of a series of articles 

based on materials from which Keith Stein 

(Professor of Clarinet at Michigan State 

Uni versity from 1934 to 1975) planned to 

create a how-to book for those who had no 

access to a clarinet teacher. I have attempted 

to put those materials into prose form, 

and a little fuller explanation of the circumstances 

surrounding that endeavor is 

given in Part One in the Volume 29, No. 4 

(September 2002) issue of the magazine. 

This article opens our look at Stein’s 

materials dealing with the great subject of 

clarinet tone quality. This is yet another 

aspect of clarinet playing in which Keith 

Stein was a great master. 

* * * * * 

Roughly speaking, tone is generated by 

means of a balanced control of air-flow, 

correct support and an appropriate ar rangement 

of larynx, jaw, tongue and the shaping 

of the front portion of the mouth. The 

last-mentioned may loosely be termed 

“Ton al Voicing.” 

“The primary purpose of the air stream,” 

says my colleague Larry Teal, “is to set 

the reed in vibration.” A player feels he is 

blowing directly through the clarinet when 

playing well, yet there is actually little forward 

force of the air beyond the reed. Mr. 

Teal’s convincing demonstration on saxophone 

applies equally on clarinet to dem - 

onstrate that breath transforms reed vibrations 

into sound waves, setting up a nearly 

ethereal vacancy inside the clarinet tube. 

To demonstrate this phenomenon, first 

put a reedless mouthpiece into the top of 

the barreljoint of your clarinet. Then cut a 

one-and-a-half-inch square piece of paper. 

Next, sit in a chair and tip your head back 

until your face is on a level plane looking 

directly upward at the ceiling. Insert the 

reedless mouthpiece and barrel combination 

in your mouth with the piece of paper 

sitting on the upturned, open end of the 

barreljoint. Observe that the slightest puff 

of air will send the piece of paper floating 

to the floor. But now do this same experiment 

again, this time with a reed and ligature 

attached to the mouthpiece. Apply as 

much blowing pressure as possible, and 

you will note that the harder you blow, the 

more the paper adheres to the end of the 

barrel. The first question asked is where 

does the air go Observe that some air does 

Page 32 

escape from around the vibrating piece of 

paper, perhaps the needed amount to satisfy 

bodily needs in expiration and at the 

same time sufficient to stimulate the reed 

in playing. 

It is correct for players to sense a wellfilled 

tone as an integral part of good clarinet 

sound though the previous experiment 

proves that air does not actually pack the 

clarinet tube. The experiment substantiates 

that a relatively small amount of breath is 

needed to vibrate the reed at its maximum. 

Nevertheless, continue encouraging the stu - 

dent to fill the instrument as a teaching 

measure, but help him find that balance of 

breath and support that will offer him the 

same sensation instead of merely overloading 

the wind channel with air. Proper mixing 

of breath with support is similar to a 

balancing of air with gasoline in a carburetor. 

When that is correct, clarinet sound 

speaks efficiently and with little effort as 

does an automobile motor with air and 

gasoline correctly mixed. 

SUPPORT 

by David Pino 

A key to tone production with minimal 

effort lies in learning to generate the support 

from an exact location which some 

professionals feel sufficiently important 

to call it the center of tone. Location of 

this so-called tonal center, at the extreme 

lower groinal area, is quickly sensed by 

the player when each new air-load seems 

to impact into this terminal of the ab do - 

men, provided that he is sufficiently re - 

laxed for it to take place. A sudden distension 

is felt, caused by the lung sacs filling 

and pressing downward, in turn displacing 

the lower internal organs and the surround - 

ing muscularity until the chain reaction 

reaches the groinal depths. This accounts 

for the impossible statement some players 

make that they blow breath from this ex - 

tremely low location. Stated more accurately, 

muscular support is applied to the 

breath-line from the lower abdomen, 

THE CLARINET 

where as more delicate breathing controls 

are manipulated by the diaphragm and 

upper abdominal musculature. 

Learning to gather the musculature 

around the extreme lower back (sacroiliac) 

as prescribed earlier also helps pinpoint 

the depth from which the lower front - 

al abdomen applies support. To the degree 

that support is not fully applied to the 

breath, the embouchure must make up the 

difference with double duty, a reason why 

embouchures are often declared faulty and 

blamed for a poor result. 

Conversely, exhalation takes place from 

this groinal region by a reverse chain reaction 

of each distended component. Each 

presses upward against the other until the 

diaphragm and the immediately surrounding 

musculature make contact against the 

lung sacs to expel the air with proper drive. 

Muscular contraction may be applied also 

from this upper area provided it is gentle 

and does not cause tensing up. 

Players will notice improvement in tone 

quality when attention is concentrated upon 

full continuous support of the breath. Take 

time, in practice, to apply support fully with 

each new breath intake. Under the stress of 

performance, especially when only a fraction 

of a beat is allowed for breath intake 

and support application, it becomes a habit 

for the player to continue with only partial 

support applied. Take the time to renew 

full support often. 

VOICING THE TONE 

There is another location where tone is 

basically determined, and that is at the ex - 

treme front of the mouth where tonal characteristics 

are created through reshaping, 

rerouting and realigning the breath. This 

takes place in a flash at that point just prior 

to the air impacting against the reed. “Ton - 

al voicing” is a general term embracing 

this extreme frontal breath treatment. The 

larynx, throat, jaw, tongue, sinus and nasal 

areas also figure in tonal formation but

contribute favorably only to the extent that 

they remain relaxed. 

The most advantageous arrangement of 

the larynx is achieved when the vocal 

cords assume a state as if uttering a sustained 

“hum,” but without playing. Con - 

tinue to hum as the mouth closes changing 

to a “mummm.” Note the frontal vibrations 

felt in the sinus and flesh regions on the 

face and nostrils. Maintain this vocal throat 

posture as sound is produced on the clarinet 

without actually vibrating the vocal cords. 

Proceeding along the windway, breath next 

passes the back throat where the jaw must 

release at its hinges and move with ease in 

company with the back-most tongue down - 

ward toward the oral cavity’s floor. 

The breath, flowing unobstructed and 

full-dimensioned up from the lungs past 

the back throat, is suddenly caught up by 

marvelous manipulation of the back midtongue 

and rearranged in shape, direction 

and speed just prior to impacting onto the 

reed. This tongue portion constantly raises 

and lowers to adjust automatically the factors 

of desired tone: pitch, quality, inten - 

sity and the like. The mid-tongue humps 

up to a nearly vertical position near the pal - 

ate for the highest pitches, ranging pro - 

gres sively downward, siren-fashion, to a 

nearly flat or even dipped position for the 

lowest pitches. This up-and-down midtongue 

movement closely approximates 

that used in ordinary whistling. Under no 

circumstances permit this voicing to be 

made by the extreme back-tongue. Move - 

ment in this location alters the basic oral 

cavity shape causing tonal distortion similar 

to gargling. 

Carrying the voicing to its frontal conclusion, 

the player imagines a tacked-on 

housing beyond the mouth and mouthpiece 

confines, into which he projects the 

breath. He concentrates, at the same time, 

on stretch ing the interior frontal oral cavity 

towards this area. Place the palm of one 

hand a few inches from the open mouth 

and audibly hum a strong “hee.” Notice 

that only a weak impact can be felt on the 

palm regardless of the breath strength that 

can be blown, providing sufficient support 

is given to the air. 

There is a story that Debussy, passing 

along the hallway at the Paris Conser - 

vatory, heard his clarinet piece Première 

Rhap sody being practiced in a studio. He 

opened the door and said to the startled 

clarinetist, “No, no!” or words to that ef - 

fect. Then he sat at the piano, depressed 

the right pedal to release the strings to vib - 

rate, and played the passage in question 

with all the strings vibrating with the notes 

he played. His concept of clarinet sound, 

then, must have been manifested by a rich 

resonance and ring. Whether that story is a 

true one or not, it does illustrate an excellent 

way to experiment with clarinet sound. 

You can try it by sitting with your clarinet 

at a piano and depressing the right-hand 

pedal. Play a passage on the clarinet and 

notice the build-up of continuous, sym - 

pathetic vibration ringing in the piano 

strings, set in motion by the clarinet tone. 

Try to approximate that ringing sound 

when you play the clarinet away from the 

piano, im a gining tones continuing to ring 

one after ano ther much like chimes, positioned 

around the wall of a room, will 

continue to intermingle their sounds after 

each is struck. 

June 2006 Page 33

EXERCISE FOR 

TONAL RESONANCE 

Sit at the piano, depress the right sustaining 

pedal, and play two-octave scales 

on the clarinet. Play the scales under a slur, 

listening to the sympathetic hum of the 

strings. Use eighth-notes, trying to imitate 

in your own sounds some of the humming 

undercurrent heard in the piano strings. 

Then repeat the scale all tongued with 

each note finished by breath control re - 

lease together with only a moderate tongue 

articulation back to the reed. The result 

should be an open-ended style of release. 

Listen simultaneously to the intermingling 

of both your tone and the piano strings 

vibrating sympathetically. 

Play each scale a third time with short 

staccato, again breathing off each tone as 

before but tossing the tongue back to the 

reed with a violent “tee” stroke, positively 

trapping off the sound. Correctly done, a 

resonating carry-on past the intended 

release point should be heard, regardless of 

the extremely short and abrupt release. 

Step up the speed with sixteenth-notes and 

repeat the routine without the aid of the 

piano, trying to retain the ringing effect in 

the clarinet sound. 

THE TONAL CONCEPT 

Developing tone quality rests primarily 

with first establishing correct concept of 

sound. The abundance of live radio, television 

and recorded music offers the student 

a wealth of tonal ideas both good and bad. 

The teacher must help students become 

aware of the finest characteristics of tone 

for a particular instrument, then guide them 

aurally in selecting and formulating only 

the best qualities into a composite concept 

as a model to pattern from and to compare 

with their own developing sound. Teacher 

direction is vital; otherwise players form 

tone only through parrot-like imitation of 

the sound heard around them. 

Certain basics are common to all clarinet 

tone and can be taught in a group, but 

beyond this, tone becomes individualistic 

and personal, based on a composite blending 

of several factors including the clarinet, 

mouthpiece and reed set-up, the support 

area, the use of the lungs, throat, jaw, 

lips, tongue, oral cavity, sinus and nasal 

cav ities, and even the emotional, intellectual 

and nervous make-up of the player. 

Page 34 

THE CLARINET 

Mechanisms have been set up to simulate 

clarinet sound such as a pressurized, 

stimulated column of air leading from a 

tube into a rubberized kind of embouchure 

attached to a mouthpiece, reed and clarinet. 

What is the result Nothing but a 

noise like the honk of an auto horn with 

none of the personally shaped qualities and 

the delicate, guided, changing nuances 

which we know as tone quality. As ex - 

pressed by the English clarinetist Jack Bry - 

mer, the player must “taste” his tone to cre - 

ate fine sound. 

When concepts are realized by the phys - 

ical self into a beautiful sound, the player’s 

inner thoughts, feelings, musicianship, and 

yes, his very nature, come through on the 

vehicle of his tone. Surely this is sufficient 

reason to develop the purest, finest textured, 

flexible, liveliest, and more beautiful 

tone quality possible. 

My first serious attempts at tonal im - 

prove ment centered around a discovery 

that stronger blowing produced more characteristic 

and filled-out tone. By sheer 

pow er I was exploiting the overtones, forcing 

certain partials into prominence. Al - 

though the tone improved, the excessive 

effort involved cramped my embouchure, 

constricted my throat and tongue, and added 

undue tension to my hands and fingers. I 

soon found that my tone could not be any 

better than my attack mechanism which 

precedes and initiates the tone. In other 

words, the best tone must be present in 

every phase of the attack and likewise 

manifest itself in the final fragments of 

tonal ending as well. I reasoned that any 

faultiness in the mechanism of attack or 

release will affect the main body of tone in 

a like manner. I concluded that an attack 

and release are integral parts of tone. 

In my practice of long tones I soon discovered 

I was acquiring more harm than 

value, doubtlessly typical of the average 

young tone seeker who plays a sustained, 

hard tone until exhausted while miserably 

tightening up in his embouchure, throat, 

hands and fingers. This tenseness was 

compounded when I added crescendo and 

diminuendo. Because of these and other 

reasons, I have searched for a means of 

achieving fine tone quality without sacrificing 

freedom and ease to do so. 

Teachers who believe in hard-blown 

tone for beginners do have a point in establishing 

some true clarinet timbre right at 

first by producing prominent overtones; 

however, my experience is that once they 

apply sheer blowing power it is difficult 

later to draw the tone down from over - 

blown proportions. Furthermore, the tone 

is apt to be spread and harsh. 

I turned next to listening to and imitating 

prominent clarinetists playing passages 

in orchestral recordings. Eventually, I held 

a composite tone in mind from several of 

these best players’ sounds, a concrete idea 

from which to form my own individual 

quality. This introspection about a number 

of prominent clarinetists’ tones led me to 

believe that tone coloring beyond a certain 

basic point was a matter of personal and 

traditional taste, ranging from the German 

or Austrian dark, dense, smooth, liquid 

sound to the light, brighter and possibly 

slightly reedy tone of the French, Belgians 

or Italians. If there could be an American 

type it might be placed mid-way between 

the above schools of tone. 

* * * * * 

What Stein has said immediately above 

concerning the various national schools of 

tone quality is by now, of course, slightly 

dated, as these ideas were written by him 

some thirty or even forty years ago. Nev er - 

the less, although today there is certainly a 

very definite American school of clarinet 

tone quality, and some of the European 

national schools of tone quality themselves 

have changed since Stein commented on 

them as above, it can be seen that his basic 

observation still has a certain valuable va - 

lidity today. 

In the next issue we will deal with the 

remainder of Keith Stein’s materials related 

to tone quality. 


David Pino is professor of clarinet in 

the School of Music at Texas State Uni ver - 

sity in San Marcos. He studied with Keith 

Stein for 15 years, and is the author of the 

book The Clarinet and Clarinet Playing 

(Scribner’s, 1980, and Dover, 1998). He 

has performed and toured with the David 

Pino Chamber Ensemble (clarinet, strings, 

and piano), and is a former Secretary of the 

International Clarinet Society.

The EclecticTrio: 

Recommended Trios and Duos 

for Flute, Clarinet and Saxophone 

by Kennen White, 

Joanna Cowan White 

and John Nichol 

As members of the Eclectic Trio 

(flute/clarinet/saxophone) and the 

Crescent Duo (flute/clarinet), we 

constantly search for quality chamber mu - 

sic to perform. Because we receive many 

requests from other performers for works 

for these combinations of instruments, we 

have provided a list of recommended pie - 

ces with annotations. Due to the limited 

repertoire for flute/clarinet/saxophone trio, 

we have commissioned two works in 

which the composers brilliantly combine 

the three woodwinds. Duets for clarinet 

and saxophone are also hard to find, but 

we have several to recommend. Flute/ 

clarinet, on the other hand, is a relatively 

popular combination, so we have chosen 

to narrow the discussion to several of our 

favorite newer works. 

Flute/clarinet/saxophone, a worthy but 

non-standard ensemble, requires the performers 

to strive for proper balance and 

blend, since the volume characteristics, 

timbre, and vibrato use of each instrument 

are so different. Players must also consider 

the different intonation tendencies of the 

three instruments. We have had good re - 

sults facilitating proper balance and precision 

ensemble playing by using a semicircle 

arrangement with the flutist on the 

outside (stage left) with flute pointing to - 

wards the audience, clarinetist in the center 

(slight ly back) facing the audience, and 

the saxophone player (stage right) facing 

the flutist. 

Recommended Works 

Guide to Difficulty Ratings for this 

article: 

M = Medium. Suitable for moderately 

advanced high school students 

MD = Medium Difficult. Suitable for college 

level players or advanced high 

school students 

D = Difficult. Suitable for professional 

players or advanced college students 

Flute, Clarinet and Saxophone 

American Counterpoint for Flute, Clarinet 

and Alto Saxophone, David Gil ling - 

ham, C. Alan Publications, Duration: 

4:30, Difficulty: D 

David Gillingham, professor at Central 

Michigan University, is especially known 

for his award-winning works for high 

school and university bands. American 

Counterpoint, a difficult but rewarding single-movement 

work, contains elements of 

jazz as well as flutter-tonguing, key clicks 

and a clarinet glissando ala Rhapsody in 

Blue. Fast tempos, intricate interchanges, 

and rhythmic interplay among the instruments 

make this brilliant work challenging 

and best suited for advanced college players 

and professionals. American Coun ter - 

point, a significant composition that is well 

received by audiences, was commissioned 

by the Eclectic Trio and is recorded by them 

on the CD Flights of Fancy: Crescent 

Duo (Centaur 2603). 

Trio for Flute, Clarinet and Alto Sax o - 

phone, Paul Harvey, Dorn Publications, 

1981, Duration: 10:00, Difficulty: MD 

British clarinet and saxophone teacher 

Paul Harvey is known for his well-crafted 

and witty solo and chamber works, most of 

which include clarinet. His Trio for flute, 

clarinet and saxophone, worth exploring, 

consists of seven short, contrasting movements 

of varying difficulty. Many of the 

movements are based on classical forms or 

dances (March, Pavane, Fugue, etc.). Al - 

though the work is only moderately difficult 

overall, the first movement calls for 

articulating six notes to the beat at MM = 

100, challenging for single reed players. 

Also an issue, the fifth movement calls for 

alto flute with no alternate part provided. 

Alto flute may not be readily available to 

all groups wishing to perform this work. 

Unfortunately, the score and parts are manuscript 

reproductions, which are needlessly 

difficult to read and contain mistakes. A 

new edition would be welcome. 

Divertissement pour trios Instruments, Op. 

45 for Flute, Clarinet and Alto Sax o - 

phone, Aubert Lemeland, for Sylvain 

Frydman and Jean Pierre Baraglioli, 

Pub lished by Gèrard Billaudot (1977), 

Duration: 9:00, Difficulty: D 

In the Divertissement pour trois In stru - 

ments, Normandy-born composer Aubert 

Lemeland achieves a unique compositional 

language and style. The music is abstract, 

pretty and atmospheric. The Divertis se - 

ment is challenging because of style, transitions, 

and technical demands. The music 

includes tempo and meter changes, but in 

the mixed meter sections, two of the three 

instruments are often coupled, making it 

easier to realize the rhythms. Although the 

score and parts are clear and include measure 

numbers and provisions for page turns, 

there are some mistakes, mostly rhy thmic. 

Lemeland’s unusual music is chal leng ing 

to perform, but well worth the effort. 

Eclectic Trio for Flute, Clarinet and Alto 

Saxophone, Catherine McMichael, Alry 

Music 2004, Duration: 5:00, Dif fi cul - 

ty: MD 

Eclectic Trio for Flute, Clarinet and 

Alto Saxophone by well-known Michigan 

composer Catherine McMichael was commissioned 

by the Eclectic Trio and premiered 

by them in 2004 at ClarinetFest®, 

the conference of the International Clarinet 

Association. This three-movement tonal 

work (Sarabande, Tango Lánguido and 

Jitterbug) has elements of neo-classicism 

and jazz. Of special note is the Jitterbug, in 

which the performers are called to switch 

places on stage several times during the 

piece (while still playing) with instructions 


such as “sashay,” “shuffle,” and “boogie” 

from place to place. In our experience, 

audiences are surprised and delighted by 

the choreography of this movement. Al - 

though the work is not especially difficult, 

the choreography of Jitterbug does require 

considerable rehearsal. With its combination 

of audience appeal, solid craftsmanship, 

and visual interest, Eclectic Trio is an 

attractive work that we highly recommend. 

Flute and Clarinet 

Four Short Dances for Flute and Clarinet, 

Scott Harding, C. Alan Publications, 

Dur ation: 7:00, Difficulty: D 

The Crescent Duo commissioned Four 

Short Dances by Scott Harding, who teach - 

es at Central Michigan University. The 

work consists of four contrasting movements 

(Allemande, Air, Sarabande and 

Gigue) based on Baroque dance forms. Of 

special interest is the Air, in which the 

clarinet is two octaves above the flute most 

of the time. This works surprisingly well 

as long as the clarinetist has good control 

of the upper register at soft dynamic levels. 

The concluding Gigue is brisk, energetic, 

and full of imitation. Four Short Dances is 

a charming work that is gratifying for both 

performers and audience. 

Les Trois “Tiques” for flute and clarinet, 

José-Luis Maúrtua, Watchdog Music, 

Duration 9 minutes, Difficulty: D 

Page 36 

Les Trois “Tiques” for flute and clarinet 

by José-Luis Maúrtua, professor of 

music theory and composition at Central 

Michigan University, was commissioned 

by the Crescent Duo and premiered by 

them at the Washington, D.C. ClarinetFest® 

2004. The title refers to the movement 

names, Fantastique, Couleuristique and 

Exo tique. Les Trois “Tiques,” written in a 

con temporary idiom, is cleverly based on 

Beethoven’s Für Elise, although this is not 

obvious until it is openly quoted near the 

end of the work. The final movement is a 

rollicking and skillful contrapuntal treatment 

of the Cuban tune “Peanut Vendor.” 

Les Trois “Tiques” is a virtuosic piece, re - 

quiring strong technique, musicianship, 

and rhythm from both players. Ensemble 

challenges include rapid chromatic scales 

and trill type passages in which the flute 

and clarinet must remain a minor second 

apart. In addition, the work makes extensive 

use of flutter tonguing in both parts. 

Les Trois “Tiques” is a challenging and 

exciting recital piece for advanced college 

players or professionals. 

Games for Flute and Clarinet, Philip Par - 

ker, Copyright 1995 Philip Parker, Dur - 

a tion: 5:30, Difficulty: D 

Games, by Philip Parker, won the Na - 

tional Flute Association Newly Published 

Music Competition in 1996. The four 

move ments, Leap Frog, Follow the Lead - 

er, Hopscotch, and Tag, are fairly difficult 

due to extreme ranges, large skips, fast 

tempos, and tricky rhythms in the second 

and third movements. The piece is wellwritten, 

effective and humorous. For ex - 

am ple, Parker begins the last movement 

with the familiar and taunting “nah nah 

nah nah nah” melody to start the game of 

tag. This challenging and fun work may be 

successfully programmed on a formal concert 

or an educational concert for students 

of any age, making it especially useful. 

Airheads for Flute and Clarinet, Gary 

Schocker, Theodore Presser, Duration: 

4:30, Difficulty: MD 

Airheads, by popular flutist/composer 

Gary Schocker, was commissioned by 

San dra Seefeld and Michèle Gingras, professors 

at Miami University of Ohio. The 

three movements, designated by tempo 

markings but not titles, total four minutes 

and thirty seconds. The clever title attracts 

attention and the witty writing makes this 

piece a good choice on any program. Of 

medium difficulty, Airheads can be performed 

by advanced high school students, 

yet has plenty of musical and technical 

challenges for university students or professionals. 

Highly contrapuntal and conver - 

sational, with many accidentals, and with 

some quick tempo markings, the work re - 

quires diligent practice. The clearly printed 

edition (Theodore Presser) makes it 

easily approachable. Mixed meters and 

changing tempos require an understanding 

of subdivision. However, the biggest 

challenge for performers is being brave 

enough to sing the penultimate note in the 

third movement. 

Clarinet and Saxophone 

The Ox and the Lark for Clarinet and Alto 

Saxophone, Nikola Resanovic, Copy - 

THE CLARINET 

right: Nikola Resanovic, 2003, Dura - 

tion: 5:30, Difficulty: D 

The Ox and the Lark was written for 

clarinetist Cynthia Krenzel Doggett and 

her husband Thomas Krenzel Doggett by 

University of Akron composer Nikola Re - 

sanovic, who also wrote the increasingly 

popular alt.music.ballistix for clarinet and 

tape. Resanovic, an American citizen, was 

born in England and has Serbian heritage, 

which is sometimes reflected in his music. 

His clarinet concerto, Collateral Damage, 

was performed by Frank Cohen and the 

Cleveland Orchestra at the Blossom Fes ti - 

val in 2005. The Ox and the Lark is a single-movement 

work in three sections, fastslow-fast. 

The fast outer sections are technically 

interesting and challenging, with 

driving rhythms (mostly in 11/8) that seem 

to suggest a Serbian influence. The lyrical 

middle section has a folk song quality, 

with the saxophone playing the melody 

much of the time. Technical challenges in 

the work include the difficulty of coordinating 

the somewhat complex rhythms in 

the fast sections, large skips in the clarinet 

part, range (up to altissimo A for the clarinet, 

extended low passages for the saxophone), 

and endurance. The Ox and the 

Lark is a worthwhile addition to the repertoire 

that should please both audiences 

and performers. 

Five Inventions for Clarinet and Alto or 

Tenor Saxophone, William Presser, Ten - 

uto Publications, Duration: 5:30, Dif fi - 

culty: MD 

Five Inventions for Clarinet and Alto or 

Tenor Saxophone by William Presser (prolific 

composer of instrumental chamber 

music and founder of Tritone Press and 

Tenuto Publications) is an excellent piece 

for advanced high school students or college 

students. This work is unusual in that 

there is not a separate part provided for the 

alto and tenor saxophones. Instead, the 

players read from the same score regardless 

of which saxophone is being used. A 

preface to the score states “while the clarinet 

will produce different intervals with 

the two saxes, the two versions should have 

equal merit.” In any event, the work is ef - 

fective and pleasant in either version and 

the flexible instrumentation is an advantage. 

The movements are well written for 

the instruments and are interesting and

charming. There is considerable counterpoint 

in the quick movements and lyricism 

in the slow movements. There are no ex - 

treme technical or stylistic demands al - 

though there are 10 measures in the saxophone 

part that call for slap tonguing. 

Cinq Portraits for B ♭ Clarinet and Alto 

Saxophone, Opus 49, Aubert Leme - 

land, Dedicated to Sylvain Frydman 

and Jean Pierre Baraglioli, Gèrard Bil - 

laudot, publisher, Duration: 8:00, Dif - 

ficulty: D 

Aubert Lemeland’s Cinq Portraits is 

written with élan and sophistication in a 

smoothly modern style, with the clarinet 

and saxophone lines gracefully intertwining 

throughout. The first movement, Re - 

veur, is for solo alto saxophone. In the Ca - 

pricieux, there are at least three rhythmic 

mistakes on the first printed page. The 

poignant Elegiaque has lyrical unison rhy - 

thms. The Triomphal requires some re - 

hearsal and coordination. Overall, this is an 

attractive piece, requiring skill and finesse, 

but well worth programming on a college 

recital or professional concert. 

Concertpiece No. 1 for B ♭ clarinet, E ♭ Alto 

Saxophone and Piano, Op. 113, Felix 

Mendelssohn (1809–1847), Transcribed 

by Elaine Zajac, copyright 1996, En - 

core Publications, Ann Arbor, Dura - 

tion: 7:45, Difficulty: MD 

Concertpiece No. 2 for B ♭ clarinet, E ♭ Alto 

Saxophone and Piano, Op. 113, Felix 

Mendelssohn (1809–1847), Transcribed 

by Elaine Zajac, copyright 1996, En - 

core Publications, Ann Arbor, Dura - 

tion: 8:30, Difficulty: MD 

Both the Concertpiece No. 1 and No. 2 

(sold separately) were originally written as 

trios for clarinet, basset horn and piano for 

the famous father and son clarinet team of 

Heinrich and Carl Baermann. The threemovement 

works are often performed with 

two clarinets and piano. Elaine Zajac’s 

suc cessful transcriptions for alto saxophone, 

clarinet and piano give this combination 

of instrumentalists the opportunity 

to perform well-crafted and imaginative 

romantic art music. These enjoyable and 

entertaining compositions provide a high 

level of satisfaction for both performer 

and listener. 

Heliotrope for Flute (or Clarinet) and Alto 

Saxophone, Keith Amos, CMA Pub li - 

cations, Duration: 4:40, Difficulty: M 

Heliotrope, by British composer Keith 

Amos, can be played by flute and saxophone 

or clarinet and saxophone. Amos, 

known for his accessible works, has written 

a brief and useful three-movement 

composition that could be performed successfully 

by high school students. The first 

movement remains rhythmically simple 

with quarters, eights and dotted rhythms, 

but young players must take care to ob - 

serve the value of the notes that tie over 

the bar line. The jaunty second movement 

contains a few accidentals. The third move - 

ment alternates eighth-note and triplet patterns, 

which must be dovetailed. 

ABOUT THE WRITERS… 

Kennen White, clarinet, is professor of 

clarinet at Central Michigan University, 

prin cipal clarinetist in the Saginaw Bay 

Orchestra and performs frequently with the 

Grand Rapids Symphony Orchestra and 

other orchestras in Michigan. He has previously 

held positions with the Toledo Sym - 

phony and the Santa Fe Opera Or chestra, 

and as a chamber musician can be heard 

on Centaur Records with the Crescent 

Duo and the Powers Woodwind Quintet. 

Holding degrees from Northwestern Uni - 

versity and the University of Michigan, 

Kennen White has studied with Fred Or - 

mand, Clark Brody, Andrew Crisanti and 

Robert Marcellus. 

Joanna Cowan White, flute, is professor 

of flute at Central Michigan University, 

principal flutist in the Saginaw Bay Or - 

chestra and the Midland Symphony, and 

performs with the Powers Woodwind Quin - 

tet, Eclectic Trio, and Crescent Duo. The 

duo released Flights of Fancy, on Centaur 

Records (2603) in 2003 and may also be 




during the last week of Feb ru - 

ary, May, August and No vem - 

ber. De livery time within North 

America is nor mally 10–14 days, 

while airmail delivery time outside 

North America is 7–10 days. 

heard on the CD Bremen Town Musicians: 

Powers Woodwind Quintet (Centaur Re - 

cords CRC 2774, 2005). Holding degrees 

from the University of Southern Cali for - 

nia, Northwestern University, and the Uni - 

versity of Michigan, she writes many articles 

for publication. Her teachers include 

Walfrid Kujala, Janet Woodhams, Patricia 

Garside, Roger Stevens, Thomas Nyfen - 

ger, Judith Bentley, Clement Barone and 

Leone Buyse. 

John Nichol, professor of saxophone, 

has taught at Central Michigan Univer si - 

ty since 1980. Professor Nichol has performed 

at numerous international jazz festivals 

including Montreaux Jazz Festival, 

the North Sea Jazz Festival (Netherlands) 

and the Ford Detroit International Jazz 

Festival. Professor Nichol has also performed 

by invitation at six World Saxo - 

phone Congresses. Professor Nichol has 

recently performed with the Jimmy Dorsey 

Orchestra, the Nelson Riddle Orchestra, 

the Lansing Symphony Big Band, the 

Grand Rapids Symphony Orchestra, and 

other orchestras throughout Michigan. Pro - 

fessor Ni chol is an active adjudicator and 

teaches at the Interlochen Center for the 

Arts Sum mer Camp (2005). 


PART III: THOUGHTS 

ON ARTICULATION 

The author has surveyed early clarinet 

specialists from around the world while 

writing the D.M.A. dissertation “Early 

Clarinet Performance as Described by 

Modern Specialists, with a Performance 

Edition of Mathieu Frédéric Blasius’s IIe 

Concerto de clarinette,” under the supervision 

of Dr. Kelly Burke at the University of 

North Carolina at Greensboro. Third in a 

series, this article will examine techniques 

and performance practice of articulation 

on the early clarinet. Following articles 

will discuss reeds, instrument selection 

(originals, modern replicas), and selected 

repertoire with reference to performance 

practice of the early 19th century. 

Studying the early clarinet has enhanced 

and clarified my understanding 

of the essays by C.P.E. 

Bach, Lefèvre, Leopold Mozart, Quantz 

and Türk. Playing through the musical 

examples with a boxwood instrument 

changes the perception of notation, articulation, 

accentuation, phrasing, and suggests 

many parallels to rhetoric. The descriptions 

and illustrations are materialized 

by the natural response of the instrument. 

This experience has consequently 

helped me appreciate the lesser-known 

works of the clarinet repertoire. 

With respect to articulation, the discourse 

is analogous between string, keyboard 

and woodwind treatises. Period 

bows and keyboards were not designed to 

play sostenuto, and therefore a natural 

decay of sound occurred after each articulation: 

“Leopold Mozart taught that ‘if in a 

musical composition two, three, four, and 

even more notes be bound together by a 

half-circle [slur] … the first of such united 

notes must be somewhat more strongly 

stressed, be the remainder slurred on to it 

quite smoothly and more and more quietly.” 

1 The narrow bore and soft reed of the 

early clarinet respond in a similar manner. 

When a performer attempts to eliminate 

the naturally occurring decay — blowing 

through it — the instrument sounds choked 

and unresponsive. 

Woodwind articulation is analogous to 

bowing for string instruments, fingerings 

for keyboard players, and text for vocalists. 

Lefèvre makes this parallel in his Méthode: 

Page 38 

Early Clarinet Pedagogy 

for Modern Performers 

by Luc Jackman 

L’articulation des instruments à 

cordes se fait par le moyen, ou de 

l’archet, comme le violon, ou des 

doigts, comme la harpe, [et] la guittare. 

Celle des instruments à vent se 

fait par la langue: sans la langue il 

est impossible de bien jouer de la 

clarinette, elle est a cet instrument 

ce que l’archet est au violon; l’action 

de la langue qui determine l’articulation 

s’appelle coup de langue, 

pour donner les coups de langue il 

faut boucher l’anche avec la langue 

puis la retirer pour introduire l’air 

dans l’instrument en prononçant la 

syllabe TÛ. 2 

The beginning of a tone and its relationship 

to the preceding and following 

ones is intimately related to the quality of 

a sound. Proper articulation is perhaps the 

most important parameter for successfully 

playing music from the 18th and early 

19th centuries, as it is used to stress dissonance, 

clarify harmony, emphasize melodic 

line, define rhythmical structure, and 

separate phrases or sections of a phrase. 

Performers are responsible for crafting articulations 

that will ultimately “sing” the 

musical phrase. 

The main differences between articulating 

on early and modern clarinet arise 

from the wider angle at which the former 

is played, which places the reed lower in 

the mouth, thus reducing the distance traveled 

by the tongue from a neutral position; 

the reed position, if one chooses to veer 

from the comfortable untersichblasen 

(mandibular embouchure); the variety of 

resistances between notes and fingerings, 

and the greater flexibility of the reed, used 

to counterbalance the high resistance of 

the instrument. The early clarinet offers a 

great variety of articulations: Backofen 

describes three ways of articulating on the 

early clarinet, using the tongue, lips, or 

throat. Another technique described in 

early clarinet methods is the air attack, or 

chest articulation: It is produced by lightly 

pushing the abdominal muscles out, as 

when pronouncing a gentle yet firm “ha.” 

THE CLARINET 

The later is especially useful in soft entrances, 

or in combination with other 

types of articulation. 

With the reed-under technique, tonguing 

is done largely the same as with modern 

reed instruments — produced through 

different syllables. Consonants influence 

placement, motion, and release of the 

tongue. Vowels place the middle and back 

portions of the tongue at different heights: 

An “ah” sound brings about a lower tongue 

position than an “ee” or French “u” sound. 

The early methods describe two basic consonants 

for tonguing, which are a “t” sound 

and a softer “d” sound. It is also possible to 

articulate with the tongue using “l,” “n” 

and “th.” With the reed-above, these consonants 

may be performed by the interaction 

of the tongue with the hard palate. 

Lip articulations are performed by tightening 

the grip around the reed and mouthpiece. 

The consonants visualized for this 

technique are “p” and “w.” The jaw may 

assist the lip muscles in this technique, but 

if too much pressure is needed to close off 

the air input, the reed is probably too hard. 

Throat articulation is the opening and closing 

of the soft palate to let the air through. 

This is performed with the “gu” and “k” 

sounds, or by pretending to cough gently 

into the clarinet. 

Experimenting with the above-mentioned 

techniques provides the clarinetist 

with a wide palette of articulation for musical 

expression: They can reach a level 

of subtlety that is not possible on the modern 

instrument. Where to start was the 

main issue for me… The instrument itself 

led the way at first, however playing 

within a chamber music setting proved to 

be the most educational experience in 

developing my palette of articulations. 

The aforementioned techniques will be 

illustrated through the clarinet literature 

in subsequent articles. 

BIBLIOGRAPHY 

Bach, C.P.E. Versuch über die wahre Art 

des Clavier zu spielen. Translated by 

William J. Mitchell. New York: W.W. 

Norton & Co., 1949.

Backofen, Johann Georg Heinrich. Answeig 

zur Klarinette, nebst einer Kurzen 

Abhandlung über das Basset-Hörner. 

Leipzig: Breitkopf und Härtel, [ca. 

1803]. Reprint, Celle: Moeck Verlag, 

1986. Translated by Susan Carol Kohlerin 

“J.G.H. Backofen’s Answeisung 

zur Klarinette nebst einer kurzen Abhandlung 

über das Basset-Horn, Translation 

and Commentary,” D.M.A. diss., 

University of Washington, 1997. 

Berg, Lorents Nicolai. “Om Clarinetten,” 

in Den første Prøve for Begyndere udi 

Instrumental-Kunsten. Translated by 

Mrs. Sonni Marschik in Albert Rice, 

“The Clarinet as Described by Lorents 

Nicolai Berg (1782),” Journal of the 

American Musical Instrument Society 

5–6 (1979–1980): 42–53. 

Blasius, Frédéric. Nouvelle méthode de 

clarinette et raisonnement des instruments. 

Paris: Porthaux, 1796. Reprint 

Geneva: Minkoff, 1972. Translated by 

William Menkin in “Frédéric Blasius: 

Nouvelle Méthode de Clarinette et Raisonnement 

des Instruments. A Complete 

Translation and Analysis with an 

Historical and Biographical Background 

of the Composer and His Compositions 

for the Clarinet,” D.M.A. 

diss., Stanford University, 1980. 

Brown, Clive. Classical and Romantic 

Performance Practice, 1750–1900. 

New York: Oxford University Press, 

1999. 

Charlton, Philip David. “Classical Clarinet 

Technique: Documentary Approaches.” 

Early Music 16, no. 3 (August 1988): 

396–406. 

Fröhlich, Joseph. Vollständige Theoretisch-praktische 

Musikschule für alle 

beym Orchester gebrauliche wichtigen 

Instrumente. Bonn: Simrock, 1810– 

1811. Clarinet section translated By Eugène 

E. Rousseau in “Clarinet Instructional 

Materials From 1732 to ca. 

1825,” Ph.D. diss., State University of 

Iowa, 1962. 

Hoeprich, Erich Thomas. “Clarinet Reed 

Position in the 18th Century.” Early 

Music 12, no. 1 (February 1984): 48–55. 

Lawson, Colin. The Early Clarinet: A 

Practical Guide. New York: Cambridge 

University Press, 2000. 

Jackman, Luc A. “Early Clarinet Performance 

as Described by Modern 

Specialists, with a Performance Edition 

of Mathieu Frédéric Blasius’s IIe Concerto 

de clarinette.” D.M.A. diss., University 

of North Carolina at Greensboro, 

2005. 

Jean-Xavier Lefèvre. Méthode de clarinette. 

Paris: Imprimerie du Conservatoire 

de Musique, 1802. Reprint, Geneva: 

Minkoff, 1974. Translation and 

commentary by Lowell Youngs in 

“Jean-Xavier Lefèvre: His Contributions 

to the Clarinet and Clarinet Playing,” 

D.M.A. diss., Catholic University 

of America, 1970, 91–157. 

Mozart, Leopold. Versuch einer gründlichen 

Violinschule. Translated by Editha 

Knocker. New York: Oxford University 

Press, 1948. 

Quantz, Johann Joachim. Versuch einer 

Anweisung die Flöte traversiere zu spielen. 

Translated by Edward R. Reilly. 

London: Faber, 1966. 

Türk, Daniel Gottlob. Klavierschule. 

Translated by Raymond H. Haggh. 

Lincoln: University of Nebraska Press, 

1982. 

END NOTES 

1 

Brown, 31 

2 

Lefèvre, 9–10. Translation: Articulation on string 

instruments is made by means of the bow, as on violin, 

or by the fingers, as on harp or the guitar. On 

wind instruments, it is done by the tongue. Without 

the tongue, it is impossible to play the clarinet well. 

It is to this instrument what the bow is to the violin. 

It is the action of the tongue that determines articulation, 

called tonguing. In order to tongue, it is necessary 

to stop the reed with the tongue, and then pull it 

back to introduce air into the instrument, pronouncing 

the syllable tû. 


Luc Jackman received a master’s degree 

in chamber music performance from 

McGill University in Montreal, where he 

studied with all three members of the 

Montreal Symphony Orchestra. Luc then 

completed a Doctorate of Musical Arts at 

the University of North Carolina at Greensboro 

with Dr. Kelly Burke. In the past two 

years, he has performed extensively as a 

soloist, chamber musician, and with the 

Winston-Salem Symphony, the Greensboro 

Symphony Orchestra, and the Carolina 

Pops. Luc currently teaches applied 

clarinet at Livingstone College in North 

Carolina, and is attending post-doctoral 

studies in orchestral literature at the University 

of Montreal under André Moisan. 


Baermann certainly rectified 

shortcomings in the 

“Carl 

older editions (or the original 

source texts), but in the process of his own 

editorial work he swung to the opposite 

extreme: in his editions every bar contains 

the minutest instructions regarding dynamics 

and articulation. […] in many places it 

is clear that in his attempt to add precision 

to the rudimentary markings in the sources 

he either misunderstood Weber’s intentions 

or made the conscious decision to 

contravene them.” 

This is one of the repeated pleadings for 

a more critical assessment of the famous 

Baermann editions of Weber’s clarinet 

works to be found in the new volume of 

the Carl-Maria-von-Weber-Gesamtausgabe 

(Complete Works by C. M. v. Weber). This 

volume comprises the composer’s chamber 

music for clarinet: The Silvana-variations 

in B ♭ major, Op. 33, the Clarinet 

Quintet in B ♭ major, Op. 34 and the Grand 

Duo Concertant in E ♭ major, Op. 48. 1 All 

of these works (like the concerti for clarinet 

and orchestra, which Frank Heidlber 

ger discussed in his essay in volume 30, 

no. 1 of this periodical) had been composed 

for — or together with — the famous Munich 

clarinetist Heinrich Joseph Baermann 

(1784–1847) between 1810 and 1815. And 

all works had been published in 1870 in a 

new edition of Baermann’s son Carl Baermann 

(1811–1885) in which the son pretended 

to present these works in the way 

his father played them (with Weber). 2 

The new edition is extremely sceptical 

about this statement: Carl Baermann’s editions 

were made more than 50 years after 

the works had been composed and more 

than 20 years after Heinrich Baermann’s 

death. Carl was at the tender age of four 

when Weber for the last time met his friend 

in Munich. (Later Heinrich Baermann visited 

Weber in Dresden without his son.) 

May we really suppose that a small boy of 

four years had such a precise power of 

recollection And if his father later played 

the works very differently from the text 

published (as Carl reported in a letter to 

the Weber researcher Friedrich Wilhelm 

Jähns in 1865), who is willing to guarantee 

that this had to do with the influence of 

the composer 

In fact, the editions of Carl Baermann 

are interpreting text-editions typical for the 

mid-19th century: all details of the dynamics 

and articulation are codified with a precision 

that shows the deep knowledge of 

Page 40 

Weber’s Clarinet 

Chamber Music 

Without Baermann 

The New Volume of the 

Carl-Maria-von-Weber-Gesamtausgabe 

and the Digital Edition of the Quintet, Op. 34 

THE CLARINET 

by Joachim Veit 

the instrument Baermann’s son had. Compared 

with Weber’s manuscripts one may 

speak of an all-dressed-up edition in the 

case of Baermann and a nearly naked textpresentation 

in the case of Weber. This is 

especially true if one considers Weber’s 

autographs. In the autographs of the Clarinet 

Quintet (Berlin, State Library) und the 

Grand Duo (Washington, Library of Congress) 

there are some pages which consist 

only of note symbols, nearly without dynamics 

and phrasing. In both cases these 

autographs were designed to serve as copies 

for Weber’s own archive, so it was not 

necessary to include all the hints which a 

performer needed — Weber knew in which 

way he had to fill in the blank spaces. But 

if we today would try to publish a new edition 

based on these autograph manuscripts 

we would burden the performer with so 

many inconveniences and uncertainties that 

such an edition would be really useless. It 

is not astonishing that the former edition of 

Günter Hausswald (published in 1953 by 

Breitkopf & Härtel), which was based on 

the autograph, was reprinted in 1989 with 

practical additions by Wolfgang Meyer. 

Pamela Weston, in her edition of the Grand 

Duo following the autograph (Corby: Fentone, 

1989), added a second version beneath 

Weber’s text in which she gave her 

own interpretation of the work. The amount 

of “blank space” in Weber’s autographs 

seduced the clarinetists to prefer the convenient 

Baermann edition — until today. 

The new Weber Complete Edition now 

for the first time exploits the engraver’s 

copy-texts of these two works which had 

been hitherto overlooked by other editors. 

Both manuscripts (housed again at Washington 

and Berlin as well as in the Vienna 

Municipal Library) were written by copyists 

and thoroughly proofread by Weber. 

The composer directed his attention not so 

much on possible defects in pitch or rhythm 

but rather on dynamics, articulation 

and phrasing, i.e., the so-called secondary 

parameters of music. The result are manuscripts 

littered with pencil markings by 

Weber’s hand (at least in the case of the 

Duo and the first three movements of the 

Quintet; the Finale of this work seems not 

to be checked with such care). These manuscripts 

are of the utmost importance for 

any edition which endeavors to present an 

authentic text of the works — much more 

than the likewise often ignored first editions 

which were published from these 

copies with Weber’s consent but with a lot 

of defects caused by the engravers. In July 

1817 Weber wrote to his Berlin publisher 

Adolph Martin Schlesinger concerning the 

print of the Quintet parts: “I am enclosing 

the corrections of the quintet, in which there 

were significant mistakes.” The printing revised 

by Weber was then published as a 

corrected original edition (plate number 

189), but nevertheless a lot of mistakes are 

still to be found in these parts too. Often 

the engravers misinterpreted slurs, accents 

or dynamic markings of the copy-text. Thus 

the copy-text is clearly more authentic than 

the printed sources based on it. 

Weber’s entries in the copy-text are of 

special interest for the editor and perhaps 

for the performer too. Even if the new editions 

are based on these copy-texts as the 

main sources it seemed to be useful to inform 

the reader about these “specially 

authorized” details in the musical text. The

Critical Notes list all these details printed 

in grey-colored fonts. With this markup 

these annotations are distinguishable at 

first sight. 3 In the case of the Quintet a 

much better solution exists with the digital 

edition accompanying the volume: The 

whole manuscript is included as a “normal” 

facsimile on the CD but at the same 

time a second version exists where all the 

entries by Weber have been marked in red 

color (dark red for undoubtable entries, 

pale red for doubtable ones). Furthermore, 

all textual annotations in the Critical Notes 

are accompanied by facsimile extracts of 

the relevant sources, i.e., the autograph, the 

copy-text and both versions of the first edition. 

(Baermann’s text is only included in 

the chapter “reception.”) In one of the most 

astonishing cases, the beginning of the 

Rondo movement, these facsimiles immediately 

illustrate the problem if one is acquainted 

with the Baermann edition: 

Baermann’s edition gives the clarinet in 

this way: 

The Critical Notes of the digital edition simultaneously present the variants to be found in 

the autograph (below left), the engraver’s copy-text (below middle) and the first print 

(below right; in this example the revised edition has the same text and thus no separate 

facimile) as well as the text of the new Weber edition beneath. 


When consulting the authorized sources 

it is without doubt that Weber wanted the 

Rondo theme in the clarinet to be played 

non-legato. (This view is supported by the 

further recurrences of this motive in the 

course of this movement.) The small slur 

from the last note of the first bar to the next 

one accentuates that the quarter note should 

not be separated from the 16th-note passage. 

(Weber wrote this slur only in the 

first occurrence of the theme; it is not taken 

over to the first edition.) So the two 

A very similar change of semantics is to 

be found in mm. 233ff. of the Finale. This 

is the passage ending the contrasting middle 

section of this movement (beginning in 

D ♭ major). A sort of chromatic clearing 

from mm. 236 to 237 (sounding a ♭ to a) 

leads to a piano climax with B ♭ (as a representative 

of the coming key of the recapitulation: 

b ♭ in m. 284), but Weber harmonized 

this pitch with G ♭ (surprisingly following 

the likewise surprising regular 

dominant F ♭ ) and with the dolce he temporarily 

returns to the darker area of D ♭ , 

presented with a sudden fortissimo in the 

strings in m. 243. Thus the bars 236/237 

are only a hint to the possible harmonic 

return to the starting point which is again 

postponed with this drastic relapse. 

Weber’s dynamics precisely underline 

this change of mood. Baermann overlooked 

this and expanded the crescendo 

until m. 239 (where he introduced a sort of 

appoggiatura) and changed the dolce to a 

con tutt’anima and further connected it 

bars are presented as one idea, not as two 

separated motives. In contrast to this Baermann 

gives the 16th-note bar as legato and 

with the dot on the last note clearly separates 

this figure from the next one; here the 

accent on the quarter note is the real target 

of the starting 16th-note motive. 

This is only one example for the many 

discrepancies between Weber’s intentions 

(as evident in the authentic sources) and 

Baermann’s later edition. To mention two 

further examples from the Quintet: 

In mm. 13–16 of the second movement, Weber first presents a two-bar idea in dolce, then 

starting from the same point in m. 15 with a contrast in dynamics and a much greater step 

upwards which needs more notes for the following release of tension (but there is no diminuendo 

in mm. 15–16!). Baermann adds a very narrow-minded interpretation of this passage: 

The dolce is missing; he puts accents on the upper-pitch notes and writes out a crescendo 

with the repeated e (d), accentuates the d ♯ (c ♯ ) with a fz and adds a pianissimo ending of the 

phrase. This is a very convincing interpretation — but it’s not Weber’s idea! 

with a rhythmic acceleration by the triplets 

in m. 240. He anticipates the D ♭ fortissimo 

in m. 242 and thus weakens the contrast of 

the entering strings in m. 243. 

Instead of the often rudimentary markings 

in the Weber sources, Baermann’s 

editions contain the minutest instructions 

regarding dynamics and articulation. Admittedly, 

in the Quintet and in the Duo 

Baermann didn’t intervene in the musictext 

on such a scale as he did in the concerti 

(cf. the article of Frank Heidlberger 

mentioned above), but in many places it is 

clear that his attempts to be more precise 

than the composer he misunderstood him 

or added interpretations of his own. So 

these editions should be used with the 

greatest caution. The new edition tries to 

encourage the musicians to return to the 

more naked “original sources,” live with 

their dozens of problematic bars and find 

solutions of their own, because only this 

may produce a really vital exposure to our 

cultural heritage. 

This is extremely difficult for the opening 

work of the volume, Weber’s variations 

on a theme from his opera Silvana, 

op. 33. Weber’s letters and diaries show us 

a luxury of sources for this work: once 

there had been two autographs, a copy for 

the Grand Duchess Maria Pavlovna at Weimar, 

an engraver’s copy-text, a copy for 

Giacomo Meyerbeer and finally the first 

edition surpervised by Weber. But, alas, 

with the exception of the first edition, all 

these sources seem to be irrecoverable 5 — 

not a very pleasant task for any editor! 

Friedrich Wilhelm Jaehns reported that in 

1863 he had a look at the second autograph 

(written down at Gotha in September 1812), 

and thanks to him we have a few notes 

about details of this manuscript. But otherwise 

there was no alternative but to use the 

first edition as the main source and copytext 

of the new one (even if we know that 

Weber’s engravers often did their task not 

very well). 

In his letters to F.W. Jaehns in the 1860s, 

Heinrich Baermann’s son Carl Baermann 

claimed to present the editions of Weber’s 

clarinet works in the form “his father 

played them with Weber.” And he reported 

that the variations op. 33 had been composed 

by Weber and his father in collaboration 

and that especially the third variation 

(Adagio) had been the work of Heinrich. 

In his edition he printed an Ossia of 

the clarinet part of this variation which 

lead to a misunderstanding: It is clear from 

the letters (and from Carl Baermann’s own 

composition) that this is not the version 

Heinrich Baermann played instead of Weber’s 

“reduced” text, but that this is also 

an “addition” by Carl (including the upbeats 

of the variations which are not in 

Weber’s text!). 

The editor of the new edition is not able 

to present solutions for all the difficult 

problems of dynamics and articulation in 

these variations — the text of the first print 

is too deficient: but we have no better one! 

All additions which are not based on the 

main source (or the few notes of Jaehns 

about the lost second autograph) are arbitrary 

and no one is forced to accept Carl 

Baermann’s interpretations as the only acceptable 

ones. Carl seems to have been a 

very good clarinetist, and we may admire 

his thoroughly revised and cleverly done 

editions. But we should not believe that 

there is too much of Weber’s spirit in these 

editions. Carl Baermann’s claim to pass 

Page 42 

THE CLARINET

down the lively interpretations of Weber 

and his very close friend Heinrich Baermann 

has turned out to be a sort of myth. 

END NOTES 

1 

The volume was published in 2005 by Schott Musik 

International at Mainz as Series VI, Volume 3 and is 

edited by Gerhard Allroggen, Knut Holtstraeter and 

Joachim Veit. A practical edition of the Clarinet 

Quintet had been published before by Allroggen/ 

Veit with Schott (ED 9186), the Variations and the 

Duo now appeared in practical editions too (Schott 

KLB 58 and 59). The inital quotation is to be found 

in vol. VI/3 on p. 136. 

2 

Published in 1870 as C. M. v. Weber’s Compositionen 

für Clarinette mit Piano [Weber’s compositions 

for clarinet and piano] as volume IX of the 

Gesammt-Ausgabe by Adolph Martin Schlesinger/ 

Robert Lienau. 

3 

Cf. pp. 206–275 of the volume. The editors used two 

symbols in order to distinguish between Weber’s 

additions in the engraver’s copy-text: additions not 

to be found in the autograph have a black arrow, 

additions corresponding to the autograph (but missing 

in the copyist’s text) have an open arrow 

4 

This digital edition was only a first attempt to use 

the power of the visual media for musical editing. 

The resulting Edirom-project is preparing further 

editions on completly revised technical conditions. 

More information can be found at (at the moment only in German, an English 

version is in prepration). 

5 

The engraver’s copy-text still existed in 1922, when 

it was auctioned at Henrici in Berlin (Catalogue 80, 

No. 604). There may be some hope that this source 

shall reemerge some day. The Weber edition in the 

future will present new discoveries or new details 

concerning the published volumes on its homepage: 

. 


Prof. Dr. Joachim Veit studied music 

education and musicology at Saarbrucken 

and Detmold in 1988. His doctoral thesis 

was “The early works of Weber and the influence 

of the Mannheim musicians Abbé 

Vogler and Franz Danzi.” Since 1988 he 

has been engaged in Weber research beginning 

with the project of a new edition 

of Weber’s letters, which was later part of 

the new edition of Weber’s musical works. 

He is he co-editor of the Weber-Studies 

and chief editor of the Weber edition (Editionsleiter) 

and since 2006 the head of the 

German research foundation project on 

digital music editions (“Edirom”). 

His major editions include Paul Vranicky, 

Oberon (1993), C. M. v. Weber, Symphonies 

(2002), Abu Hassan (vocal score 

2003; score in preparation), Abbé Vogler, 

Requiem (in preparation, 2006) and numerous 

articles on the Mannheim school of music. 

Carl-Maria-von-Weber-Gesamtausgabe, 

Seminar for Musicology, Detmold/Paderborn, 

Gartenstrasse 20, D-32756 Detmold; 

E-mail: . 

“Take 3” in this series, surveying the 

movies in which Benny Goodman and his 

band appeared, continues with films produced 

during World War II, including two 

feature-length productions and a somewhat 

obscure short documentary. “Take 

4” in the September issue will be devoted 

entirely to the semi-autobiographical 

Sweet and Low-Down from 1944. 

The Movies of 

Benny Goodman 

A Pictorial Retrospective 

Take 3 

by James 

Gillespie 

STAGE DOOR CANTEEN, 

1943, UNITED ARTISTS 

Set during World War II, the Stage 

Door Canteens were operated by the American 

Theatre Wing for servicemen on 

leave. Here the film’s main locale is the 

canteen in New York run and staffed by 

movie stars and stage personalities with 

more than 60 well-known entertainers 

making cameo appearances, including 

Katharine Hepburn, Harpo Marx, Ray 

Bolger, Edgar Bergen and Ethel Merman 

(see Photos 1–3). The slight, hokey plot 

concerns three soldiers who fall for canteen 

workers while on furlough in New 

York City. It received two Oscar nominations 

in 1944, one for Freddie Rich for his 

Best Song Scoring of a Musical Picture 

and another in the Best Song category for 

“We Mustn’t Say Good Bye.” The orchestras 

that appeared included Count Basie, 

Kay Kyser, Guy Lombardo, Xavier Cugat, 

Page 44 

THE CLARINET

Freddie Martin and, of course, the Benny 

Goodman Orchestra playing a rousing 

“Bugle Call Rag” and a steamy “Why 

Don’t You Do Right” with a beautiful 

young Miss Peggy Lee singing one of her 

first big hits. Both of these are included 

on the Benny Goodman, The Centennial 

Collection CD/DVD set (see Bibiliography 

and Photo 2). Goodman’s portion 

of the film was completed in New York 

during the band’s engagement at the 

Hotel New Yorker. 1 The band’s personnel 

Photo 1. Movie booklet cover 

Photo 2. Movie brochure. Note Miss Peggy Lee and the BG band 

in the center. 

Photo 3. Magazine ad 

included: Conrad Gozzo, Carl Poole, Steve Steck (trumpets); Jack 

Jenney, Charlie Castaldo (trombones); Hymie Schertzer, Clint 

Neagley (alto saxophones); Jon Walton, Al Klink (tenor saxophones); 

Ted Goddard (baritone saxophone); Jess Stacy (piano); 

Dave Barbour (guitar); Cliff Hill (bass); Louis Bellson (drums) 2 . 

THE GANG’S ALL HERE (U.S.), 

THE GIRLS HE LEFT BEHIND (U.K.), 

BANANA SPLIT (FRANCE), 

1943, 20TH CENTURY-FOX, 

BUSBY BERKELEY, DIRECTOR 

Considered by many to be Busby Berkeley’s most elaborate masterpiece 

of over-the-top campiness with its mesmerizing and kaleidoscopic 

production numbers featuring the Brazilian Bombshell, 

Carmen Miranda, the banana chorus line is a highlight as is Carmen’s 

“The Lady in the Tutti Frutti Hat.” In stunning Technicolor, 


Photo 4. Movie trade journal ad 

Photo 6. Sheet music of “A Journey to 

a Star” (U.S. edition, 1943, Triangle 

Music Corp.) 

Photo 5. Movie still with BG and Carmen Miranda 

the film is short on plot but filled with 

musical interludes and dance sequences. It 

was nominated for an Academy Award in 

the categories of Best Art Direction-Interior 

Decoration and Color (see Photo 4). 

The movie was filmed while Benny 

Goodman and his band were playing at the 

Hollywood Palladium during March–April 

of 1943. To advertise the film, 20th Century-Fox 

had four records cut for distribution 

to radio stations. Two of these recordings 

feature Benny Goodman. In the movie, 

Benny Goodman sings (yes, sings) on 

“Paducah” (with Carmen Miranda) (see 

Photo 5) and “Minnie’s in the Money.” 

The Benny Goodman Orchestra is featured 

on “Let’s Dance” and backs vocals by the 

other leading lady in the film, Alice Faye, 

on “No Love, No Nothin’” and “A Journey 

to a Star.” (BG sings one line on this, too) 3 

Photo 7. Sheet music to “A Journey to 

a Star” (U.K. edition, 1943, Bradbury 

Wood Ltd.) 

(see Photos 6 and 7). Jay Camp, writing 

in the Boston Globe, considers it, “Camp 

heaven, the apotheosis of excess, a beaut, a 

hoot. The Technicolor is psychedelic and 

the routines surrealistic, especially ‘The 

Lady in the Tutti Frutti Hat,’ the production 

number Busby Berkeley concocted 

Page 46 

THE CLARINET

for Carmen Miranda. Does the banana 

xylophone top the artichoke chorus girls 

Or does the pathway of giant strawberries 

down which Miranda prances outdo them 

both” 

The band’s personnel: Lee Castle, Ray 

Linn, Bobby Guyer (trumpets); Miff Mole, 

Charlie Castalso (trombones); Hymie 

Schertzer, Leonard Kaye (alto saxophones); 

Jon Walton, Bon Tayloe (tenor 

saxophones); Joe Rushton (baritone saxophone); 

Jess Stacy (piano); Bart Roth (guitar); 

Gus van Camp (bass); Louis Bellson 

(drums) 4 (see Photo 9). 

ROAD TO VICTORY 

(ALSO TITLED 

THE SHINING FUTURE), 

1944, WARNER BROS. 

This is a 10-minute documentary intended 

to drum up support for the Fifth 

War Loan Campaign during World War II. 

It shows a happy family in the future of 

1951 enjoying the prosperity and advantages 

made possible by the successful prosecution 

of the war and how the sacrifices 

of 1944 have made the world a better place. 

There are brief appearances by such movie 

stars as Bing Crosby, Cary Grant, Frank 

Sinatra and Jack Carson, as well as the 

big bands of Benny Goodman and Harry 

James. 5 Unfortunately, the writer found no 

images or a video of this documentary in 

researching this series. 

Photo 8. Original movie still of Tony De Marco and Virginia Wilson dancing to the BG 

band (background). Standing on stage at right are (l to r) Phil Baker, Carmen Miranda, 

Alice Faye and Charlotte Greenwood. 

BIBLIOGRAPHY 

Benny Goodman, The Centennial Collection, 

Bluebird 82876-60088-2; Includes 

a CD with 21 standards and a 

DVD with excerpts from the following 

movies: The Powers Girl, The Gang’s 

All Here and Stage Door Canteen 

Connor, D. Russell and Warren W. Hicks. 

BG — On the Record, A Bio-discography 

of Benny Goodman, Arlington 

House, 1973 

Firestone, Ross. Swing, Swing, Swing, The 

Life and Times of Benny Goodman, W. 

W. Norton & Co., New York, 1993 

Maltin, Leonard. The Disney Films, Crown 

Publishers, Inc., New York, 1984 

Meeker, David. Jazz in the Movies, Talisman 

Books Ltd, London, 1981 

Paul, Jean-Marie, “Benny Goodman, roi 

du swing: 1909–1986,” Clarinette Magazine, 

Numéro 9-2ème Trimestre 1986, 

pp. 4–11 

Yanow, Scott. Jazz on Film, Backbeat 

Books, San Francisco, 2004 

Photo 9. Original lobby card 

ENDNOTES 

1. Connor, D. Russell and Warren W. Hicks. BG — 

On the Record, A Bio-discography of Benny Goodman, 

Arlington House, 1973, p. 334 

2. Meeker, David. Jazz in the Movies, Talisman 

Books Ltd, London, 1981, entry no. 3061 

3. Conner, pp. 338–340 

4. Meeker, entry no. 1170 

5. Web site: Internet Movie Database, Inc., 


The Use of the Clarinet by the 

Moravian Societies of Early America 

Page 48 

by Jesse Krebs 

When examining musical developments 

in America between 

1790 and 1830, comparing the 

uses of a particular instrument and its literature 

in different American communities 

can be illuminating. The clarinet in particular 

played many different musical roles in 

early America depending upon where it 

was being performed. In the larger cities 

like Philadelphia and Boston, the clarinet 

was used in military bands and was played 

in public concerts by professionals, most 

of whom were immigrants. Conversely, 

the Moravian societies of early America 

fostered an amateur tradition of clarinet 

playing. Through each settlement’s collegium 

musicum, their missionary work, 

and in other various venues, the clarinet 

proved to be a vital component of the rich 

Moravian musical tradition, a tradition 

unlike any other in early America. 

The clarinet’s primary means of introduction 

into American musical culture was 

through its use in military bands. There 

were over 80 British regiments serving in 

America between 1755 and 1783, most of 

which had their own band comprised of an 

assortment of instruments, including clarinets, 

oboes, bassoons, horns, and trumpets. 

1 Clarinetist Jane Ellsworth observes, 

“It is undoubtedly through the activities of 

the British regimental bands that the clarinet 

first arrived in the American colonies 

in significant numbers. … These military 

bands not only executed their regimental 

duties but also played a large role in civilian 

musical life.” 2 

In 1774 one of the first American concerts 

took place that integrated the clarinet 

into the standard orchestral ensemble. Oscar 

Sonneck noted that “though the program 

is not mentioned the meager announcement 

is of great historical importance 

as it proves that the full orchestra 

of the period, including clarinets was employed.” 

3 Furthermore, the clarinet was 

used in chamber concerts, such as the summer 

concert performed in 1786 at the Pennsylvania 

Coffee House in Philadelphia by 

two clarinets, two bassoons, two French 

horns and one flute. 4 

Solo clarinet appearances also took 

place in early America, including concerto 

performances by “Mr. Gautier” (Auguste 

Gautier) on December 1, 1795 in Philadelphia 

and by “Mr. Shaffer” (Francis C. 

Shaffer) on April 2, 1798 in Boston. 5 After 

arriving in America in 1795, the French 

clarinetist William Dubois regularly made 

concerto appearances, often of his own 

compositions, in South Carolina, Philadelphia 

and Baltimore. 6 

While the clarinet was being employed 

in military bands and showcased in public 

concerts in the large American cities, the 

Moravian settlements were among the first 

societies in early 19th-century America to 

embrace the clarinet as an integral part of 

their musical culture. In these communities, 

the clarinet was not only used in amateur 

orchestral, chamber, and solo performances 

of each society’s collegium musicum, 

but also in Indian Missionary work, 

church orchestras, and the Columbian Band, 

97th Regiment, Pennsylvania Militia. 

The significance of the clarinet in Moravian 

musical tradition can be traced back 

to the 1720s when the Moravians found a 

safe haven at the estate of Count Nikolaus 

von Zinzendorf (1700–1760). During this 

time, Zinzendorf promoted hymn singing 

and led singing classes to enlarge the Moravian’s 

hymn repertory. 

Along with the society’s daily singing, 

it can be assumed that instrumental music 

thrived as well. One of the most respected 

clarinet makers in Europe at this time, the 

Grenser family, was located in the nearby 

city of Dresden. Moravian music historian 

Donald McCorkle explains: 

Dresden, the capital of Saxony, 

was noted in the 18th century for the 

manufacture of china and musical 

instruments. The most important instrument 

makers were the Grenser 

family, whose flutes and clarinets 

were known and used throughout 

THE CLARINET 

David Moritz Michael (1751–1827) 

(Photo courtesy of the Moravian Music Foundation, 

457 S. Church Street, Winston-Salem, NC 27101) 

Europe. The founder of the business, 

Karl August (1720–1805), 

gained prestige for the family by 

making clarinets as early as 1777. 

His nephew, Heinrich (1764–1813), 

succeeded him and continued the 

tradition. 7 

The influence of the Grensers can be 

observed in a manuscript of Six Duos Pour 

Deux Clarinettes, composed by Karl August’s 

brother, Johann Friedrich Grenser 

(1726–1780), that was found in the musical 

archives of the Moravian church in 

Winston Salem, North Carolina, insinuating 

a direct connection between the Grenser 

family and the Moravians. 8 

By 1761, the Harmoniemusik tradition 

was well established throughout Europe. 

This music was composed for ensembles 

of two clarinets, two bassoons, two oboes 

and two horns. Clarinetist Albert Rice concludes 

that, “the introduction of the clarinet 

into wind ensembles of pairs of clarinets, 

horns, bassoons, and sometimes oboes during 

the 1740s and through the 1760s was a 

significant factor in the rapid dissemination 

and acceptance of the clarinet.” 9

Prince Nicolaus Esterházy’s court in 

particular produced a vast amount of Harmoniemusik, 

primarily through the compositions 

of Franz Joseph Haydn. The amateur 

clarinetist Count Friedrich von Zinzendorf, 

a member of the Esterházy social 

circle and a relative to Count Nikolaus von 

Zinzendorf, would likely have interacted 

with the Moravian society and perhaps 

on occasion took part in Harmoniemusik 

performances. 10 In any case, the Moravians 

in Germany were very familiar with the 

Harmoniemusik ensemble and when settling 

in America, brought the tradition 

with them. David Whitwell concurs, “Some 

Harmoniemusik even found its way to 

America, via the Moravian settlements in 

North Carolina and Pennsylvania. The presence 

of such European traditions, of 

course, characterizes nearly all the early 

instrumental music of the United States.” 11 

The first mention of a clarinet in a 

Moravian settlement was by Benjamin 

Franklin in his autobiography. After a visit 

to Bethlehem, Pennsylvania, in 1756 he recalled, 

“I was at their Church, where I was 

entertain’d with good Musick, the Organ 

being accompanied with Violins, Hautboys, 

Flutes, Clarinets, etc.” 12 However, 

there is no evidence of the clarinet existing 

in these settlements that early. Mc- 

Corkle explains: 

Many of Franklin’s papers had 

been destroyed during the Revolution, 

and he was doubtless writing 

from memory. It seems safe to assume 

that he had become familiar 

with the “clarinets” in Paris, rather 

than Bethlehem, and they slipped 

into this list with woodwinds inadvertently. 

Certainly, no other evidence 

has turned up to indicate that 

the clarinet was known in Bethlehem 

as early as 1756. 13 

By 1805, two clarinets had been imported 

to the Moravian settlement of Salem, 

N.C., along with a bassoon and two 

trumpets. 14 Three years later, this receipt 

shows that there was a purchase of two 

more clarinets: 15 

Salem d. 19. Sept. 1808 

Note. 

Im Monat May 1808 wurden von 

Br. Friedr. Chr. Meinung in Bethlehem 

für hiesiges Collegium Musicum 

gekauft 

2 Clarinetten ............................$9. — 

Instructions & Notes 

for the Clarinette......................$5. — 

2 Rolls of Silver wire ..............$4. — 

or £7.4 — $18. — 

One of the most important clarinet 

makers of his time, Heinrich Gottlob Gütter 

(1797–1847), moved from Neukirchen 

to the Moravian settlement at Bethlehem 

in 1819 where he opened an instrument 

store. 16 In 1833, Gütter advertised that he 

had “just received from Germany an excellent 

assortment of musical instruments, to 

wit … Clarionets … all of which will be 

sold single or by the dozen, at the lowest 

prices. He also repairs instruments at the 

shortest notice.” 17 Preserved by the Wachovia 

Historical Society, four five-keyed, 

boxwood clarinets from the Moravian settlements 

still survive, including one by 

Martin frères of Paris (c. 1795), one by 

Gütter of Bethlehem (c. 1820), and two by 

unknown makers (c. 1800 and c. 1820). 18 

The chief venue for clarinet performance 

within the Moravian settlements 

was with the collegium musicum. These 

musical organizations have their roots in 

European tradition as Roger Hellyer explains, 

“The collegium musicum, as the 

name implies, was of university origin, 

one being recorded in Prague as early as 

1616.” 19 Although these musical societies 

performed both sacred and secular works, 

their amateur performances of secular 

music made them unique in early America. 

They were eventually established in all the 

major Moravian settlements: Bethlehem, 

PA, 1744; Lititz, PA, 1765; Nazareth, PA, 

c. 1780; Salem, NC, 1786. 20 These musical 

organizations consisted of both vocalists 

and instrumentalists. Frances Cumnock 

clarifies that, “the term Collegium musicum 

embodied virtually all musical activity 

in early Salem.” 21 

The musical archives of the Moravian 

settlements demonstrate the significance of 

the clarinet as an integral member of the 

collegium musicum. In the library of the 

Collegium Musicum Salem for instance, 

there exists a substantial amount of music 

employing the clarinet, including orchestral, 

chamber, and solo repertoire. It contains 

symphonies and overtures by Beethoven, 

Haydn, Méhul, Sterkel, Winter, 

and Wranizky, all of which incorporate the 

clarinet in the orchestral ensemble. Not 

only that, but the library also possesses a 

copy of Xavier Lefèvre’s Quatrieme concerto 

pour la clarinette, indicating that at 

least a few of the Moravian clarinetists 

performed on a high level and had advanced 

technical abilities. 22 

Furthermore, many chamber music 

manuscripts exist in the collegium musicum 

libraries that use the clarinet. These 

include a septet by P. Winter for clarinet, 

four strings and two horns, as well as pieces 

for clarinet and string trio such as 

Dressler’s Quatuor, Op. 10 and Goepfert’s 

Deux quatuors, Op. 16, No. 1. 23 More than 

any other combination of instruments 

involving the clarinet, the Harmoniemusik 

ensemble was the most prevalent in Moravian 

communities. This music was most 

often performed outdoors on summer evenings. 

Hellyer explains, “There was none 

of the professionalism of contemporary 

European Harmoniemusik; the performances 

were listened to and enjoyed (and not 

treated as in Europe as background music) 

by communities which perforce had to create 

their own entertainments.” 24 

In the three collections of music from 

the Bethlehem, Lititz and Salem settlements, 

there exist at least 35 pieces of Harmoniemusik 

that had been imported from 

Europe, including Parthien by Anon, Collauf, 

Pleyel, Rosetti, and Hoffmeister, and 

Divertimenti by Carl Stamitz. 25 In addition, 

the Moravian composer David Moritz Michael 

(1751–1827) wrote 14 Parthien for 

ensembles of two clarinets, one or two bassoons, 

and two horns (a few require an additional 

trumpet or flute player). He also 

composed two programmatic suites of water 

music for the same instrumentation. 26 

For the most part, Michael’s Parthien 

can be described as light music, well suited 

for wind instruments and not difficult 

to perform. Hellyer believes that “the technical 

simplicity and musical straightforwardness 

of the pieces [Parthien] suggest 

that the composer was writing for inexperienced 

amateurs and was well aware of 

their capabilities.” 27 McCorkle describes 

them as, “harmonically and melodically 

traditional, but [they] use very few ornaments; 

they abound in melodramatic surprises 

and are above all typically German.” 

28 In the first movement of Michael’s 

Parthia, No. 1 (c. 1807), the melody 

mainly resides in the two clarinet parts 

while the trumpet provides occasional fanfare-like 

motives and the bassoon and 

horns act as accompaniment (see musical 

example below). 


our lane, and we were all overcome 

with joy. 

June 9, 1811. At the afternoon 

song service, Br. Burckhardt played 

the Clarinet. 41 

Parthia, No. 1 by David Moritz Michael (first movement, mm. 1–9) 

Based on the large quantity and wide 

variety of music for clarinet existing in the 

Moravian musical archives, the clarinet 

was one of the most popular instruments in 

these societies and was regularly used in 

performances with each settlement’s collegium 

musicum. 30 

Perhaps one of the finest Moravian clarinetists 

of the time was John Ricksecker 

(1780–1827), who not only played the 

clarinet, but also the flute, oboe and bassoon. 

31 On at least one occasion, he performed 

as the first clarinetist on one of David 

Moritz Michael’s water music suites 

with the composer playing the second clarinet 

part. 32. He is also remembered for his 

clarinet playing on an 1811 performance of 

Haydn’s Creation in Bethlehem, PA. 33 

Other important Moravian clarinetists 

of the time include Levin R. Brietz, T.F. 

Crist, W. Leinbach and Friedrich Christian 

Meinung, all of whom lived in Salem. It is 

likely that two of these clarinetists played 

during the 1835 performance of Haydn’s 

Creation by the Collegium Musicum Salem. 

34 McCorkle singles out Meinung for 

special comment: 

Meinung was certainly the most 

important musician in Salem during 

the first half of the nineteenth century. 

Although he did not assume 

directorship until 1822 (and then for 

only eleven months), his influence as 

a violinist, violist, clarinetist, trombonist, 

organist, pianist, and vocalist 

is still apparent today. 35 

Meinung (1782–1851) was also significant 

for his purchase of two clarinets in 

1808 and for directing the Collegium Musicum 

Salem. 

In addition to the collegium musicum, 

another venue for clarinet playing distinctive 

to the Moravian societies during this 

time involved Indian missionary work. In 

1743, Johann Christopher Pyrlaeus became 

the first Moravian musician assigned to 

missionary work. After learning the 

Mohawk language, he lived in the Moravian 

mission called Shekomeko. 36 Music 

eventually became one of the most important 

elements of missionary work. Hymns 

were sung daily and in 1763 a collection of 

hymns was published by the Moravians in 

the language of the Delaware Indians. 37 Unaccompanied 

hymn singing was the most 

common practice among the missionaries, 

however, if individuals who played musical 

instruments lived in the settlements, 

they would often play along. 38 Two of 

these instrumentalists, living in different 

missionary settlements, were clarinetists. 

Clarinetist Christian Burckhardt moved 

to the Moravian missionary settlement at 

Springplace in 1807. 39 Springplace, located 

in present-day North Georgia, was the first 

mission school established in the Cherokee 

Indian territory. 40 Because music was so 

fundamental to both the Indian and Moravian 

cultures, it was a powerful means of 

communication and was used during virtually 

all occasions. Burckhardt played his 

clarinet regularly, as noted by these accounts 

from Springplace diaries: 

June 16, 1807. We and the children 

celebrated Gambold’s birthday. 

Br. Burckhardt supplied the Clarinet 

accompaniment. 

June 8, 1811. As we set out to 

meet him [Burckhardt] we heard 

the lovely tones of his Clarinet in 

For the Indian children at the school, 

his clarinet playing provided exposure to 

new sounds and different musical expression. 

Charles Lawson believes that, “Burckhardt 

. . . must have been quite a treat to 

the inhabitants of Springplace. The singing 

of the Moravians took on a new form.” 42 

At the same time, the clarinetist Abraham 

Luckenbach lived and taught at the 

Delaware mission station at White River, 

Indiana. It is likely he learned to play the 

clarinet from David Moritz Michael and 

like Burckhardt, would often accompany 

hymn singing with his clarinet. 43 Luckenbach 

was later assigned to Goshen, a Moravian 

mission in present-day Ohio. 

Besides missionary work and performances 

with the collegium musicum, Moravian 

clarinetists also played in church orchestras. 

The practice of performing wind 

instruments during a religious service was 

not unique to the Moravian churches, but 

in fact occurred throughout early America. 

Albert Rice explains: 

In many churches, an organ was 

too expensive for the congregation, 

so parishioners supported the choir 

by playing instruments. One of the 

earliest examples of a clarinet in a 

church band was at the East Church 

in Salem, Massachusetts on Thanksgiving 

Day, 1797. … The use of instruments 

in church galleries to support 

singers continued until about 

1840 in America. 44 

Likewise, the Moravians occasionally 

used instruments to accompany congregational 

hymn singing in religious services. 

McCorkle observes that, “Since the majority 

of this vast amount of music is written 

for both voices and instruments, it is evident 

that the Moravians were not at all 

bothered by the notions of the New England 

Puritans who held that musical instruments 

were ‘of the Devil.’” 45 Oftentimes 

these church ensembles included clarinets. 

The Sharon congregation, one of the earliest 

Moravian congregations to be established 

in present-day Ohio, organized a 

church orchestra in 1838. A Sharon diary 

describes, “For the first time in the preach- 

Page 52 

THE CLARINET

ing service some of the Sharon brethren 

accompanied the singing with clarinets, 

violins and violoncello.” 46 

Clarinets were also employed by a Moravian 

military band that was established 

circa 1815 in Bethlehem. Harry Hall suggests 

that, “Even though the woodwinds 

were first obtained primarily for chamber 

and orchestral use, their role in setting the 

course for a new dimension in secular music, 

namely the Moravians’ first bands, was 

soon apparent.” 47 This band, known as the 

Columbian Band, 97th Regiment, Pennsylvania 

Militia, performed at various community 

and military events, such as the 

welcoming of distinguished visitors and 

the annual Fourth of July festivals. 

During a celebration in 1824, toasts 

were offered by two of the band’s clarinetists: 

Henry Hillman and George Gundt. 

The latter proclaimed, “The Independent 

bands of music throughout the Union: May 

they never forget the tune of Hail Columbia, 

and unite with one another to bid defiance 

to those who are always busy in circulating, 

that from music dispute arises.” 48 

The Columbian Band’s repertoire mainly 

consisted of marches, many of which were 

composed of the Moravian composer Peter 

Ricksecker (1791–1873). 49 

In order for young musicians to gain 

membership into ensembles like the Columbian 

Band, a tradition of instrumental 

training was established in the Moravian 

societies that continued from generation to 

generation by means of an exceptional 

education system. Young Moravians were 

exposed to quality music from a very early 

age which helped to develop a solid mental 

conception of music. 50 In addition, music 

was encouraged as a wholesome pastime. 

In a preface to his music collection of 1811, 

Christian Ignatius LaTrobe states that, “The 

practice of Instrumental Music is recommended 

by the Brethren, as a most useful 

substitute for all those idle pursuits, in 

which young people too often consume 

their leisure hours.” 51 

Young Moravians received formal training 

through daily education on a variety of 

instruments, although evidence shows that 

girls were only allowed to play keyboard 

instruments and possibly the flute, while 

boys could play any wind or string instrument. 

52 Furthermore, by 1759, a student 

orchestra had been organized at the boys’ 

school in Bethlehem, directed by their 

music instructor, John Andrew Albrecht. 53 

Among the wind instruments taught, it appears 

that the clarinet was one of the most 

popular — suggested by the six instrument 

tutors for clarinet found in the Moravian 

Music Foundation at Winston-Salem, more 

than any other wind instrument. 54 

Thus, during a time in early America 

when the clarinet was primarily performed 

in public concerts by professional immigrant 

musicians or used in the military 

bands, the Moravians were promoting an 

early amateur tradition of clarinet playing. 

Even with this vibrant heritage of clarinetists 

and clarinet playing, the Moravians 

seemed to have exerted very little influence, 

if any, on the overall America clarinet 

tradition. Perhaps most Americans 

were not aware of the Moravians’ music 

due to a lack of awareness of its existence. 

John Tasker Howard speculates that, “… 

the fact that they [the Moravians] were not 

known very far beyond Bethlehem’s limits 

prevents the possibility of their exerting 

any marked influence on our musical 

life.” 55 Regardless of their impact upon the 

nation’s larger musical culture, the Moravian 

settlements embraced the clarinet 

through amateur performances and missionary 

work, making their societies in 

early America truly unique. 

BIBLIOGRAPHY 

Chase, Gilbert. America’s Music: From 

the Pilgrims to the Present, 2d ed. New 

York: McGraw-Hill Book Company, 

1966. 

Cumnock, Frances, ed. The Catalog of the 

Salem Congregation Music. Chapel 

Hill: The University of North Carolina 

Press, 1980. 

Ellsworth, Jane. The Clarinet in Early 

America: Some Preliminary Findings. 

Salt Lake City: International Clarinet 

Association, ClarinetFest® 2003. 

Frost, Ruth G. “Concerning Moravian Music.” 

Music Journal 18 (November–December 

1960): 34, 76–77. 

Hall, Harry H. “The Columbian Band: 

Bethlehem Moravians In the Early 19th 

Century Pennsylvania Militia.” Moravian 

Music Journal 29 (Winter 1984): 

98–105. 

_____. “Moravian Music Education in 

America, ca. 1750 to ca. 1830.” Journal 

of Research in Music Education 29 (Fall 

1981): 225234. 

Hartzell, Lawrence W. “Musical Moravian 

Missionaries.” Moravian Music Journal 

29 (Winter 1984): 91–92. 

_____. Ohio Moravian Music. London: 

Associated University Presses, 1988. 

Hellyer, Roger. “The Harmoniemusik of 

the Moravian Communities in America.” 

Fontes Artis Musicae 27 (April– 

June 1980): 95–108. 

Hixon, Donald L. Music in Early America: 

A Bibliography of Music in Evans. 

Metuchen: The Scarecrow Press, 1970. 

Howard, John Tasker. The Music of George 

Washington’s Time. Washington, D. C.: 

United States George Washington Bicentennial 

Commission, 1931. 

_____. Our American Music: A Comprehensive 

History from 1620 to the Present. 

New York: Thomas Y. Crowell 

Company, 1965. 

Ingram, Jeannine S. “Repertory and Resources 

of the Salem Collegium Musicum, 

1780–1790.” Fontes Artis Musicae 

26 (October–December 1979): 

267–281. 

Lawson, Charles T. “Musical Life in the 

Unitas Fratrum Mission at Springplace, 

Georgia 1800–1836.” Ph.D. diss., The 

Florida State University, 1969. 

Lowens, Irving. “Moravian Music — Neglected 

American Heritage.” Musical 

America (February 1958): 30–31, 122, 

124, 126. 

Marrocco, W. Thomas, and Harold Gleason, 

ed. Music in America: An Anthology 

from the Landing of the Pilgrims to 

the Close of the Civil War, 1620–1865. 

New York: W.W. Norton and Co., 1964. 

McCorkle, Donald M. The Collegium 

Musicum Salem: Its Music, Musicians 

and Importance. Winston-Salem: The 

Moravian Music Foundation, Inc., 1956. 

_____. “Early American Moravian Music.” 

Music Journal 13 (November 

1955): 11, 45–47. 

_____. “The Moravian Contribution to 

American Music.” Notes 13 (September 

1956): 597–606. 

_____. “Musical Instruments of the Moravians 

in North Carolina.” The American-German 

Review 21 (February– 

March 1955): 12–17. 

Rice, Albert R. “Clarinet Fingering Charts, 

1732-1816.” The Galpin Society Journal 

(March 1984): 16–41. 


_____. The Clarinet in the Classical Period. 

Oxford: Oxford University Press, 

2003. 

_____. “A History of the Clarinet to 1820.” 

Ph.D. diss., The Claremont Graduate 

School, 1987. 

_____. “Instrumental Tutors and Treatises 

at Winston-Salem.” Moravian Music 

Journal 30 (Fall 1985): 34–35. 

Rierson, Charles Frederick, Jr. “The Collegium 

Musicum Salem: The Development 

of a Catalogue of its Library 

and the Editing of Selected Works.” 

D.Ed. diss., The University of Georgia, 

1973. 

Sonneck, Oscar George Theodore. A Bibliography 

of Early Secular American 

Music. Washington, D. C.: The Library 

of Congress, 1945. 

_____. Early Concert-Life in America 

(1731–1800). New York: Musurgia 

Publishers, 1949. 

Weston, Pamela. More Clarinet Virtuosi of 

the Past. London: by the author, 1977. 

_____. Yesterday’s Clarinettists: a sequel. 

London: Emerson Edition Ltd., 2002. 

Whitwell, David. A Concise History of the 

Wind Band. St. Louis: Shattinger Music 

Co., 1985. 

END NOTES 

1 

Raoul Camus, Military Music of the American Revolution 

(Chapel Hill: The University of North Carolina 

Press, 1976), Appendix A, “Bands of Music in 

British Regiments of Foot, 1755–1783,” 179–84. 

2 

Jane Ellsworth, “The Clarinet in Early America: 

Some Preliminary Findings” (Lecture presented at 

the International Clarinet Association ClarinetFest®, 

Salt Lake City, Utah, 2003). 

3 

Oscar George Theodore Sonneck, Early Concert- 

Life in America (1731–1800), (New York: Musurgia 

Publishers, 1949), 269. 

4 

John Tasker Howard, The Music of George Washington’s 

Time (Washington D.C.: United States 

George Washington Bicentennial Commission, 

1931), 19. 

5 

Oscar George Theodore Sonneck, A Bibliography 

of Early Secular American Music (Washington, 

D.C.: The Library of Congress, 1945), 86. 

6 

Pamela Weston, More Clarinet Virtuosi of the Past 

(London: by the author, 1977), 89–90. 




Page 54 

7 

Donald M. McCorkle, “Early American Moravian 

Music,” Music Journal 13 (November 1955): 45. 

8 

Ibid. 

9 

Albert R. Rice, The Clarinet in the Classical Period 

(Oxford: Oxford University Press, 2003), 109–110. 

10 

Pamela Weston, Yesterday’s Clarinettists: a sequel 

(London: Emerson Edition Ltd., 2002), 188. 

11 

David Whitwell, A Concise History of the Wind 

Band (St. Louis: Shattinger Music Co., 1985), 157. 

12 

Albert Rice, “A History of the Clarinet to 1820” 

(Ph.D. diss., The Claremont Graduate School, 

1987), 233. 

13 

Donald M. McCorkle, “The Moravian Contribution 

to American Music,” Notes 13 (September 1956): 

600. 

14 

Donald M. McCorkle, The Collegium Musicum 

Salem: Its Music, Musicians, and Importance, 

(Winston-Salem: The Moravian Music Foundation, 

Inc., 1956), 489. 

15 

Donald M. McCorkle, “Musical Instruments of the 

Moravians in North Carolina,” The American- 

German Review 21 (February–March 1955): 17. 

16 

Rice, The Clarinet in the Classical Period, 62. 

17 

Harry H. Hall, “The Columbian Band: Bethlehem 

Moravians In the Early 19th Century Pennsylvania 

Militia,” Moravian Music Journal 29 (Winter 1984): 

105. 

18 

McCorkle, “Musical Instruments,” 16. 

19 

Roger Hellyer, “The Harmoniemusik of the Moravian 

Communities in America,” Fontes Artis Musicae 

27 (April–June 1980): 95–108. 

20 

McCorkle, The Collegium Musicum Salem, 485. 

21 

Frances Cumnock, ed. The Catalog of the Salem 

Congregation Music, (Chapel Hill: The University 

of North Carolina Press, 1980), 16. 

22 

Charles Frederick Rierson, Jr., “The Collegium 

Musicum Salem: The Development of a Catalogue 

of its Library and the Editing of Selected Works” 

(D.Ed. diss., The University of Georgia, 1973), 26. 

23 

Ibid., 51, 61, 118. 

24 

Hellyer, “The Harmoniemusik,” 99. 

25 

Ibid., 100. 

26 

Ibid., 101. 

27 

Ibid., 103. 

28 

McCorkle, “Early American Moravian Music,” 47. 

29 

Thomas Marrocco and Harold Gleason, ed. Music 

in America: An Anthology from the Landing of the 

Pilgrims to the Close of the Civil War, 1620-1865 

(New York: W. W. Norton and Co., 1964), 87–96. 

30 

It is possible that some of the clarinet music found 

in the Moravian archives was acquired sometime 

after 1830. 

31 

Lawrence W. Hartzell, Ohio Moravian Music (London: 

Associated University Presses, 1988), 61. 

32 

Hellyer, “The Harmonimusik,” 105. 

33 

Weston, More Clarinet Virtuosi, 207. 

34 

McCorkle, The Collegium Musicum Salem, 498. 

35 

Ibid., 490. 

36 

Lawrence W. Hartzell, “Musical Moravian Missionaries,” 

Moravian Music Journal 29 (Winter 

1984): 92. 

37 

Gilbert Chase, America’s Music: From the Pilgrims 

to the Present, 2d ed. (New York: McGraw-Hill 

Book Company, 1966), 61. 

38 

Hartzell, Ohio Moravian Music, 28. 

39 

Charles T. Lawson, “Musical Life in the Unitas 

Fratrum Mission at Springplace, Georgia 1800– 

1836” (Ph.D. diss., The Florida State University, 

1969), 43. 

40 

Ibid., 1. 

THE CLARINET 

41 

Ibid., 44. 

42 

Ibid. 

43 


44 

Rice, The Clarinet in the Classical Period, 213. 

45 

McCorkle, “Early American Moravian Music,” 11. 

46 


47 

Hall, “The Columbian Band,” 99. 

48 

Ibid., 102. 

49 

Ibid. 

50 

Irving Lowens, “Moravian Music — Neglected 

American Heritage,” Musical America (February 

1958): 30. 

51 

McCorkle, “Musical Instruments,” 12. 

52 

Harry Hall, “Moravian Music Education in America, 

ca.1750 to ca. 1830,” Journal of Research in 

Music Education 29 (Fall 1981): 231. 

53 

Ibid. 

54 

Albert R. Rice, “Instrumental Tutors and Treatises 

at Winston-Salem,” Moravian Music Journal 30 

(Fall 1985): 35. 

55 

McCorkle, “The Moravian Contribution,” 598. 


Jesse Krebs is currently a Lecturer in 

Music at Truman State University in Kirksville, 

Missouri, where he teaches applied 

clarinet, counterpoint, and music appreciation. 

Before coming to Truman State, 

he was the Adjunct Clarinet Instructor and 

Coordinator of Chamber Winds at Bainbridge 

College in Bainbridge, Georgia. He 

completed a Doctor of Music in clarinet 

performance from the Florida State University 

where he was a graduate teaching 

assistant and studied with Frank Kowalsky. 

He received a Master of Music from 

the University of North Texas and Bachelor 

of Music from the University of North 

Carolina at Greensboro. His previous 

teachers include James Gillespie, Kelly 

Burke, Edwin Riley, and Curtis Craver. He 

has published several articles in The Clarinet 

and has performed with the North 

Carolina, Greensboro, Fayetteville, and 

Tallahassee Symphony Orchestras. In 

2002, he was selected as a semifinalist 

for the International Clarinet Association 

Young Artist Competition and competed in 

Stockholm, Sweden. Recently, he took part 

in a performance of Krzysztof Penderecki’s 

Credo under the composer’s baton 

and made a concerto appearance with the 

Central Florida Symphony. He can be 

heard on recordings with the North Texas 

Wind Symphony (Klavier label, 2002– 

2003). He is a member of the Phi Kappa 

Phi and Pi Kappa Lambda National Honor 

Societies and in 2004 was named an Honorary 

Member of the Tau Beta Sigma National 

Music Fraternity.

Laudate Martino Tributes After 

Donald Martino (1931–2005) 

by Bruce M. Creditor 

It was with great sadness that Dantalian 

Music announced that Donald Martino 

passed away on December 8, 2005, 

while on a cruise with his wife in the Caribbean. 

Mr. Martino suffered a heart attack 

following complications of diabetes. 

The clarinet fraternity mourns doubly, 

for Don Martino was a fellow clarinetist as 

well as a composer, and one who loved his 

instrument and contributed greatly to the 

richness of its repertoire. An acquaintance 

of Don’s and having played clarinet in the 

Boston premiere of his Triple Concerto, I 

can attest to his genuine care for performances 

full of accuracy but also of personality. 

The greatest lasting tribute to his 

memory is for us to perform and transmit 

to next generations the qualities that make 

his music both clarinetistic and remarkable. 

Many tributes and obituaries have appeared. 

Just a sampling: 

A student of Roger Sessions and Milton 

Babbitt, he was an unapologetic Modernist 

steeped in 12-tone techniques. His 

works, typically, were dense and formidably 

complex. A skilled craftsman and 

comprehensive musician, he believed in 

challenging listeners. [...] Yet many of his 

works had arresting qualities that even 

nonspecialist audiences often found alluring: 

rhapsodic freedom, Romantic expressivity, 

vividly dramatic mood shifts, fetching 

instrumental colorings and, despite 

the busyness of his pieces, remarkably lucid 

textures (Anthony Tommasini in The 

New York Times) 

_____________________________ 

A composer of meticulous craftsmanship, 

he used his prodigious technical 

skills and rigorous attention to detail to 

produce music that sounds spontaneous 

and emotionally immediate. 

Mr. Martino loved many kinds of music 

— jazz, Tin Pan Alley, opera, the great 

19th-century virtuoso showpieces for clarinet, 

and the works of the composers of 

Second Viennese School, Schoenberg, 

Berg, and Webern, and their Italian successor 

Luigi Dallapiccola, with whom he 

studied in Florence on a Fulbright Fellowship 

in the mid-1950s. 

A listener can hear all of these influences 

in his work, but only Mr. Martino 

could have written his music, which is sensuous 

and serious, even when it is playful 

or even cheeky, as in “Dr. Schoenberg’s 

Magic Cabaret.” 

“He was a relentless worker of the highest 

standard,” said fellow composer and 

friend Wyner. “He had a very Catholic 

view of things and great personal generosity; 

he was able to appreciate the aesthetic 

positions of other composers.” 

Mr. Martino studied at Syracuse University 

and at Princeton, where his mentors 

included composers Milton Babbitt 

and Roger Sessions. Mr. Martino taught at 

Princeton, Yale, and the Tanglewood Music 

Center before coming to Boston. Under 

the name “Jimmy Vincent,” he wrote 

several pop songs that never became popular. 

“They were too original to become 

popular — wayward, inventive, always 

interesting; you keep stubbing your toe,” 

said Wyner. 

His 1974 Pulitzer Prize came for Notturno, 

a work for flute, clarinet, violin 

cello, and piano, a work of night moods, 

❝ 

The greatest lasting tribute 

to his memory is for us 

to perform and transmit 

to next generations the 

qualities that make his 

music both clarinetistic 

and remarkable. 

❝ 

Donald Martino 

night fantasies. Mr. Martino’s most recent 

Boston premiere was early in 2005 

when conductor Gil Rose led clarinetist 

Ian Greitzer in the premiere of his luminous 

Concertino for Clarinet and Orchestra 

at a concert by the Boston Modern Orchestra 

Project. 

“His music lost none of its complexity 

but it became more straightforward — a 

little like the man himself,” said Rose. “He 

took no prisoners when he was dealing 

with music, but he became more and more 

congenial in human relations as he aged. 

He always knew exactly what he wanted.” 

(Richard Dyer in The Boston Globe) 

_____________________________ 

...[A]n unabashed modernist who favored 

an atonal harmonic system and the 

rigorously determined compositional procedures 

of the serialists. Yet his music 

was often leavened with jazzy flavors and 

vivid internal dramatic conflicts. (The 

Boston Herald) 

_____________________________ 

“He wrote music of great complexity 

and great purity at the same time,” pianist 

and long-time friend Russell Sherman said. 

“But even beyond the beauty of his pieces, 

the music is imperishable — it’s his character 

of devotion to his craft that is inimitable 

and really a model for all musicians.” 

(The Harvard Crimson) 

_____________________________ 


This is not dry music. In the generally 

arid landscape of late ’70s American 

academic serialism, this music was dripping 

wet with sensuality, color, affect, and 

drama — schmaltzy even. (Steven Mackey 

in New Music Box) 

_____________________________ 

Donald Martino was the subject of 

a profile in The Clarinet, Vol. 7, No. 4 

(Summer, 1980) by his mentor Harwood 

Simmons, and I direct your attention to it 

for a more detailed description of his 

works for clarinet. But to simply illustrate 

the range of works including clarinet 

as well as the sense of humor and 

elegance with which Martino presented 

his publications, here are some excerpts 

from the Dantalian catalog prose: 

CLARINET SHEET MUSIC 

You have come to Dantalian’s Clarinet 

Sheet Music Page. Here you will find information 

about our sheet music publications 

of Donald Martino’s music for your 

instrument. We think you will be pleased 

with what you find. It is a very special page 

since Mr. Martino is, himself, an accomplished 

clarinetist and has contributed 

much to the literature of his instrument. 

There are the dapper unaccompanied miniatures 

such as the musical birthday cards 

15 5 92 AB, VARIAZIONI SOPRA UN 

SOGGETTO CAVATO, the first to celebrate 

Arthur Berger’s 80th birtday, the 

second to celebrate the 20th anniversary 

of the Boston University based new music 

ensemble Alea III. Mr. Martino premiered 

both works. Dantalian presents them in 

elegant color editions. CHARLES: HAP- 

PY BIRTHDAY TO YOU, was written 

for Charles Wuorinen for his 50th birthday. 

Mr. Martino was in Chicago for a 

performance of his TRIPLE CONCER- 

TO and was unable to play the piece for 

Charles at his birthday party. There is also 

the piece for “clarino turned basso” B A B 

B IT T, written for Milton Babbitt’s 50th 

birthday and premiered by Mr. Martino at 

a concert of the International Society for 

Contemporary Music in New Haven. All 

four of these works, under the title FOUR 

BIRTHDAY CARDS, have been performed 

by Jean Kopperud at various concerts. 

Finally among the solo pieces is the 

real clarino basso piece STRATA. There 

are works ranging in difficulty from 

GRAVE for the near beginner, SONATA 

for the intermediate player, and the now 

classic virtuoso solo piece A SET FOR 

CLARINET. (If you are looking for the 

TRIPLE CONCERTO for Cl, BCl and 

CbCl or The new (2002) CONCERTINO 

for Cl and Orchestra (see premieres.htm 

for the altogether positive review), consult 

the Orchestra Page). You’ll have a lot of 

fun with CANZONE E TARANTELLA 

written for Mr. Martino to perform with 

his cellist son in 1984 to celebrate the 80th 

birthday of the eminent Italian composer 

Goffreddo Petrassi. The cadenzas quote 

from Verdi’s operas “La Traviata” and 

“Don Carlos.” Finally there is the 2003 

TRIO with Cello and Piano commissioned 

by the New York New Music Ensemble 

and premiered by them on May 3rd, 2003 

at Merkin Hall (the entire concert was a 

tribute to Mr. Martino). 

And this is what the critics have said 

about the chamber works: 

From Four Birthday Cards by Donald Martino (Written in celebration of Charles Wuorinen’s 50th birthday); © 1988 Dantalian, Inc. 

Page 56 

THE CLARINET

TRIO for Cl, Vln & Pf: “A work of great 

sensitivity and delicacy.” — The Nation 

CONCERTO FOR WIND QUINTET: 

“has many striking passages: the clarinet 

solo is worthy of singling out.” — 

High Fidelity 

SERENATA CONCERTANTE: Mr. 

Martino’s new octet has had many performances. 

Recently, a stunning performance 

was given by the New York 

New Music Ensemble at Merkin Hall 

on May 3, 2002. The New York audience 

loved it! The New York players 

loved it! The New York critics: Where 

were they Eh! 

NOTTURNO: “Beautiful beyond belief” 

— The Boston Globe 

CLARINET SHEET MUSIC: 

TRANSCRIPTIONS WITH PIANO 

Thanks for visiting this, our most recent 

page, which contains a Sheet Music listing 

of Donald Martino’s Transcriptions for 

Clarinet and Piano of music that he performed 

with band as a teenage clarinetist. 

Musty old manuscripts, some dating from 

as long ago as 1873, were willed to Mr. 

Martino by his teacher, Francesco Lieto. 

They are treasures of that Italian Band tradition 

which is sadly now lost. From them, 

Mr. Martino has crafted a number of clarinet 

transcriptions that are a real joy to 

play. Most are performable by advanced 

students. It is our intention to issue one 

work each year. Here is something of the 

origin of this series: “In my early teens I 

studied clarinet with an Italian Bandman 

bamed Francesco Lieto. He played me 

through the studies of all the great Italian 

masters, some of them from very early 

manuscripts. Frank occasionally took me 

with him to play the Italian Feasts. Those 

were wonderful times, not just for the 

music, but for the lavish feasts of roasted 

chickens, peppers, much pasta, good 

cheese, and wine. On some occasions 

Frank even arranged for me to play with 

the band some solo clarinet piece I had 

been working on…” It is clear that these 

transcriptions are born out of a nostalgic 

love of those inspiring times. 

We began with DIVERTIMENTO LA 

FORZA DEL DESTINO in 1999. Attributed 

to Cavallini, this is a wonderful 

piece, lyric as only a Verdi medley could 

be. It consists mainly of arias from the 

opera with the usual clarinet fireworks at 

the end. This year we introduce the fantasia 

UN BALLO IN MASCHERA. More 

great tunes from Verdi and elegant variations 

from Lovreglio. Next season we will 

introduce an original composition by Pietro 

Musone, Director of the band at Caserta, 

Italy around the turn of the century. 

Lots of fireworks here but tempered by 

beautiful melodies reminiscent of Verdi 

and even Chopin. Subsequently there will 

be a number of others including a RIGO- 

LETTO fantasy by Lieto. Quite different 

from the great Bassi fantasy, it is not as 

brilliant, with the advantage that it is suitable 

for teacher and student alike. All these 

composers seemed to have the ability to 

craft grade 5 music so it sounds like the 

top end of grade 6. 

And as you see, there are also transcriptions 

of Bach Violin and Clavier sonatas 

which Mr. Martino made as a senior in 

college for his own recital purposes. 


The University of Georgia and the 

University of South Carolina, in cooperation 

with the International 

Clarinet Association, are proud to sponsor 

ClarinetFest® 2006. Clarinet professors Joseph 

Eller (USC) and D. Ray McClellan 

(UGA) are honored to be the hosts and 

artistic directors of this year’s convention 

which will be held at the luxurious Omni 

Hotel in the heart of downtown Atlanta, 

Georgia, USA. 

Performances will include the Atlanta 

Symphony Orchestra, the United States 

Army Field Band, Maia String Quartet in 

residence and the Gary Motley Trio, jazz 

combo in residence. There will also be 

tribute concerts featuring students of legendary 

teachers David Weber, Mitchell 

Lurie, Stanley Hasty and Guy Deplus. 

The preliminary artist roster and schedule 

are listed below. Please make sure to 

visit the I.C.A. Web site at for all of the latest updates, a more 

detailed schedule with event rooms and 

lengths, and online registration/application 

download options. The schedule and roster 

are subject to change. You may also find 

information regarding Omni hotel lodging 

and transportation issues. Information 

about Atlanta area activities, attractions 

and more can be found at the Atlanta Visitors 

and Convention Bureau Web site at 

. 

We look forward to seeing you in Atlanta! 

Room codes: 

Grand Ballroom A (A) 

Grand Ballroom B (B) 

Maple Room (C) 

Oak Room (D) 

Wednesday, August 9, 2006 

10:00 a.m. Orchestra Audition 

Competition semi-finals — C 

High School Competition — D 

12:00 p.m. Young Artist Competition 

semi-finals — D 

1:00 p.m. I.C.A. Research Competition 

presentation — C 





2:30 p.m. Trio New Mexico — A 

3:00 p.m. ClarinetFest®2006 Artistic 

committee recital — A 

Linda Cionitti, Georgia Southern 

University w/Alan Woy, 

State University of New York– 

Potsdam (retired) 

Lisa Oberlander, Columbus State 

University 

Kenneth Long, Georgia State 

University 

4:00 p.m. I.C.A. Board recital — A 

Diane Cawein Barger, University of 

Nebraska 

Kristina Belisle, University of Akron 

Lee Livengood, Utah Symphony 

Orchestra 

Robert Walzel, University of Utah 

5:00 p.m. Light welcoming reception — 

Atrium 

7:00 p.m. DAVID WEBER Tribute 

Concert — A 

Philippe Cuper, principal, Paris Opera 

Orchestra 

Robert DiLutis, assistant principal, 

Rochester Philharmonic Orchestra 

Rena Feller Friedman, Memphis 

Symphony Orchestra 

David Gould, freelance clarinet, NYC 

Laura Ardan Dimitri Ashkenazy Henri Bok Alessandro Carbonare 

Page 58 

THE CLARINET

Philippe Cuper Buddy DeFranco Guy Deplus Andy Firth 

Jon Manasse, Eastman School of Music 

Jessica Phillips, Metropolitan Opera 

Orchestra 

Ricardo Morales, principal, 

Philadelphia Symphony Orchestra 

William Blayney, Seattle, Washington 

D. Ray McClellan, University of 

Georgia 

9:30 p.m. Opening night reception — 

Grand Ballroom A/B 

Demos Greek Band, USA 

Thursday, August 10, 2006 

8:00 a.m. Potpourri concert — B 

Deborah Andrus Trio, Bethlehem, 

Moravian College 

Chris Ayer, Stephen F. Austin State 

University 

Deborah Bish, Florida State University 

Rebecca Rischin, Ohio University 

David Shea, Texas Tech University 

Verdehr Clarinet Quintet 

9:00 a. m. Peter Wright, principal, 

Jacksonville Symphony Orchestra — A 

Orchestra Audition Competition 

Finals — C 

Carmine Campione presentation, 

Cincinnati Conservatory of 

Music — D 

9:30 a.m. Nathan Williams, Interlochen 

Academy — A 

10:00 a.m. Ana Victoria Luperi, principal, 

Winnipeg Symphony Orchestra — A 

John Warren, Atlanta, GA — B 


Orchestra, master class — C 

I.C.A. Research Competition presentation 

— D 

10:30 a.m. Caracas Clarinet Quartet, 

Venezuela — A 

Transcontinental Clarinet Quartet, 

USA — B 


— D 

11:00 a.m. Robert Spring, Arizona State 

University — A 

Louisiana Philharmonic Clarinets — B 

(John Reeks, Robyn Jones, Stephanie 

Thompson) 

Henri Bok master class, bass clarinet, 

Rotterdam Conservatory of 

Music — C 


— D 

11:30 a.m. David A. Bellman, principal, 

Indianapolis Symphony Orchestra — A 

12:00 p.m. Roeland Hendrikx, principal, 

National Orchestra of Belgium — A 

Prague Clarinet Quartet, Czech 

Republic — B 

Russ Dagon, principal, Milwaukee Symphony 

(retired), master class — D 

1:00 p.m. MITCHELL LURIE Tribute 

Concert — A 

Tie Bai, China 

Kathleen Jones, principal, Puerto Rico 


Im-Soo Lee, principal, Seoul Philharmonic 

Orchestra 

Hakan Rosengren, Sweden, California 

State University — Fullerton 

David Shifrin, Yale University 

Mitchell Lurie, University of Southern 

California (retired) 

3:00 p.m. Sylvie Hue, principal, Garde 

Republicaine Orchestra — A 

Japan Clarinet Society recital — B 

Steve Williamson master class, principal, 

Metropolitan Opera Orchestra — C 

Stanley Hasty Sylvie Hue Mitchell Lurie Jon Manasse 


Mark Nuccio Paulo Sergio Santos David Shifrin Joaquin Valdepeñas 

3:30 p.m. Steve Cohen, Northwestern 

University — A 

Dan Silver, University of Colorado — A 

4:00 p.m. Donald Nicholls, New Zealand 

— B 

4:30 p.m. David Weber tribute session 

— B 

8:00 p.m. Evening Feature Concert — A 

Dmitri Ashkenazy, Germany 

Mark Nuccio, associate principal, New 

York Philharmonic Orchestra 

Joaquin Valdepeñas, principal, Toronto 


Michael Riessler, Germany, jazz soloist 

Ron Odrich, jazz soloist, NY 

Friday, August 11, 2006 

8:00 a.m. Potpourri Concert — B 

Mary Alice Druhan, Texan A&M 

University–Commerce 

Jane Ellsworth, Kenyon College 

Dileep Gangolli, Evanston, IL 

Barbara Haney, Fort Washington, MD 

Gregory Oakes, University of Southern 

Mississippi 

Hild Peersen, Columbus, OH 

9:00 a.m. Marguerite Baker Levin, 

Towson State University — A 

William Blayney presentation, 

“Great Clarinetists of the Early 

20th Century,” Seattle, WA — C 

Page 60 

Caracas Clarinet Quartet 

Jean-François Rico, Cane growing and 

reed making session — D 

9:30 a.m. Ching-Chun Lin, Taiwan — A 

10:00 a.m. Jorge Montilla, Venezuela, 

Arizona State University — A 

Ben Redwine, US Naval Academy 

Band — B 

Alessandro Carbonare master class, 

principal, Orchestra Nazionale di 

S. Cecilia — C 

Young Artist Competition Finals — D 

10:30 a.m. Javier Vinasco, Mexico — A 

University of Oklahoma Clarinet 

Ensemble — B 

11:00 a.m. Andy Simon, principal, Hong 

Kong Philharmonic Orchestra — A 

Mitchell Lurie tribute session — B 

11:30 a.m. Sandrine Vasseur, Paris 

Conservatory prize winner — A 

12:00 p.m. Sergio Bosi, Italy — A 

1:00 p.m. GUY DEPLUS Tribute 

Concert — A 


Orchestra 

Sylvie Hue, principal, Garde Republicaine 

Orchestra 

Yasuaki Itakura, Tokyo National 

University of Fine Arts and Music 

Bruno Martinez, bass clarinet, Paris 

Opera Orchestra 

Milko Pravdic, Academy of Music, 

Croatia 

Guy Deplus, The Paris Conservatory 

(retired) 

3:00 p.m. Pedro Rubio, Spain — A 

Madeira de Vento, Brazil — B 

Mark Nuccio, associate principal, 

New York Philharmonic, 

master class — C 

3:30 p.m. Jószef Balogh, Hungry — A 

Lisbon Clarinet Quartet, Portugal — B 

THE CLARINET 

4:00 p.m. Fred Ormand, University of 

Michigan — A 

Nota bene Clarinet Quintet, Luxemburg 

— B 

4:30 p.m. Stanley Hasty tribute session 

— B 

8:00 p.m. Atlanta Symphony Orchestra — 

Atlanta Symphony Hall, Woodruff Arts 

Center 

Laura Ardan, principal, concerto soloist 

Andy Firth, jazz soloist, Australia 

Buddy DeFranco, jazz soloist, FL 

Saturday, August 12, 2006 

8:00 a.m. Potpourri Concert — B 

Ani Berberian, Air Force Academy 

Band, CO 

John Cipolla, Western Kentucky 

University 

Tod Kerstetter, Kansas State University 

Julianne Kirk, Ball State University 

Patricia Martin, principal, Baton Rouge 


Jeffrey Olson, Valdosta State University 

George Stoffan, Southern Utah 

University 

9:00 a.m. Gary Spearl, University of 

Tennessee — A 

Kelly Burke presentation, University of 

North Carolina — Greensboro — C 

Tom Ridenour presentation, 

“Reed adjustment made simple 

and effective” — D 

9:30 a.m. Jane Carl, University of 

Missouri–Kansas City — A 

10:00 a.m. Roger Vigulf, Norway — A 

Vancouver Hosts ClarinetFest®2007 

— B 

Joaquin Valdepeñas, principal, Toronto 

Symphony Orchestra, master class 

— C

Jean-Marie Paul presentation, Director 

of Sheet Music, Vandoren — D 

10:30 a.m. David Harris, University of 

Illinois — A 

11:00 a.m. Marino Calva, Mexico — A 

Guy Deplus tribute session — B 

11:30 a.m. TRIO UFUA, Brazil 

12:00 p.m. Fabio di Casola, Switzerland 

— A 

I. C. A. General Meeting — C 

1:00 p.m. STANLEY HASTY Tribute 

Concert — A 

Larry Combs, principal, Chicago 


Ken Grant, principal, Rochester 

Philharmonic Orchestra, Eastman 


Ted Gurch, assistant principal, Atlanta 


Elsa Ludewig-Verdehr, Michigan State 

University 

Tom Martin, assistant principal, Boston 


Stanley Hasty, principal, Rochester 


School of Music (retired) 

3:00 p.m. United States Army Field Band 

and soloists — A 

Alessandro Carbonare, principal, 

Orchestra Nazionale di S. Cecilia 

Larry Combs, principal, Chicago 


Ken Grant, principal, Rochester 



Elsa Ludewig-Verdehr, Michigan State 

University 

Fred Ormand, University of Michigan 

4:30 p.m. Chat with the Legends: Brody, 

Deplus, Hasty, Lurie, McCaw — B 

8:00 p.m. Feature Evening Concert — A 

Henri Bok, bass clarinet, Rotterdam 

Conservatory of Music 

Alessandro Carbonare, principal, 

Orchestra Nazionale di S. Cecilia 

Steve Williamson, principal, 

Metropolitan Opera Orchestra 

Paolo Sergio Santos, Brazil, latin/jazz 

soloist 

Sunday, August 13, 2006 

9:00 a.m. Cumberland Woodwind Quintet 

— B 

Harbor Winds Clarinet Quartet, USA 

— B 

Prestige Clarinet Quartet, USA — B 

10:00 a.m. University of Florida Clarinet 

Ensemble — B 

University of North Carolina–Greensboro 

Clarinet Ensemble — B 

11:00 a.m. College Choir — B 

Julie DeRoche, DePaul University, 

Director 

Festival Choir — B 

David Etheridge, University of 

Oklahoma, Director 

Contacts for 

The Clarinet: 

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 

P.O. Box 311367 

Denton, Texas 76203-1367 

E-mail: 

Send all printed materials (music, books, etc.) 

intended for review in The Clarinet to: 

Joseph Messenger, Editor of Reviews 

Department of Music, Iowa State University 

Ames, Iowa 50011 

E-mail: 

Send all recordings intended for review 


William Nichols, Audio Review Editor 

School of Music, University of Louisiana at Monroe 

Monroe, Louisiana 71209-0250 

E-mail: 

Send all inquiries about advertising, notices of change 

of address, inquiries about I.C.A. membership, 

missing issues, etc., to: 

So Rhee, Executive Director 

P.O. Box 1310 

Lyons, Colorado 80540 

E-mail: 


y Jaime Titus 

Dr. Donald E. McGinnis is recognized 

as one of the finest music 

pedagogues, performers, and conductors 

of the 20th century. His career as a 

clarinetist, flutist, and conductor has inspired 

musicians across the United States, 

and he claims many world-renowned musicians 

as his students. This American success 

story is the result of a man who began 

life in meager settings, but through determination, 

dedication, and hard work, rose 

to the top of his field. 

EDUCATION 

D O N A L D E . M C G I N N I S , 

An American Success Story 

Donald McGinnis was born in 1917 in 

Barberton, Ohio to a poor, but loving family. 

His father earned a living as a factory 

worker, while his mother raised three sons: 

Harold, Donald, and Richard. McGinnis 

was encouraged from an early age to sing 

and play, and although his relatives were 

not professional musicians, music was not 

uncommon during family gatherings. Aunts, 

uncles, and cousins would assemble for 

family feasts and games, then gather around 

the piano for hymn singing. Throughout 

his education and career, his family was 

supportive of his musical pursuits. 

From Victor Zajec’s The First 50 Years: 

Mid-West International Band and Orchestra 

Clinic, (Dallas: Taylor Publishing 

Company, 1996) 

The younger McGinnis conducting 

McGinnis dreamed from an early age 

to play the clarinet, so when his music 

teacher informed him the school owned no 

clarinets, and knowing his parents could 

not afford to purchase one, he determined 

to raise the money on his own. Visiting a 

nearby farmer early one spring, he spied a 

runt piglet pushed from the trough. Concerned 

for its well-being, he asked to raise 

the pig himself. 

I brought home this little pig and 

he became such an enormous pet. I 

took care of him like a little dog or a 

kitty, until he grew up to be a fullgrown 

pig. When the farmers gathered 

around to slaughter the pigs, we 

needed the food, but I couldn’t go 

to see my little pig get killed. We 

couldn’t eat him, because we all 

loved this little pig. So we sold the 

meat, and that was the money that 

bought my first clarinet. I think we 

got twenty dollars for that pig. 1 

McGinnis purchased A and B ♭ Buffet 

clarinets from a local player, and after 

learning some fundamentals in school, he 

began playing in the Medina County Town 

Band. “I was this little boy with stars in his 

eyes about all these great players who were 

probably just terrible.” 2 He asked one clarinetist 

how he played so fast, and was told 

to practice everyday as many hours as possible. 

McGinnis took every opportunity to 

practice, quickly surpassing his classmates. 

Until he entered Oberlin Conservatory 

in 1936, McGinnis was largely self-taught. 

He was often called, “The fastest tongue in 

the West,” a skill he attributes to the same 

clarinetist who taught him to practice. 

“Every day, you take a scale and tongue 

eight times on a note from the lowest register 

as far as you can go up, and eight 

times down. Then tongue seven times on a 

note, going up and down, then six, then 

five, four, three, two, and one. And then 

every time you come to exercises in your 

books that are slurred, play it the way it is 

supposed to be, and then tongue it all.” 3 

During his sophomore year of high 

school, McGinnis heard George Waln, clarinet 

professor at Oberlin Conservatory of 

Music, perform the Weber Concertino. “I 

was flabbergasted! I never heard the 

clarinet sound like that … my mind was 

blown!” 4 He resolved to pursue music as a 

career. In the fall of 1936, McGinnis enrolled 

at Oberlin to study with Waln and to 

work toward a school music degree. He 

quickly learned the impact of having no 

formal training. 

I gradually refined my playing to 

the point where my technical skills 

were superior to most juniors and 

seniors. But it took me really two 

full years to refine my playing to 

any extent. You cannot believe what 

things you can destroy by having no 

instruction from the fifth grade until 

after high school, playing a lot, playing 

wrong, and with no embouchure. 

I did not have a good background 

starting off, so that was tough. But, it 

probably made me a better teacher, 

because I had to constantly analyze 

what I was doing wrong. 5 

McGinnis practiced no less than three 

to five hours daily. “George Waln was a 

wonderful and gentle man, but you knew 

that you never came in under prepared.” 6 

He struggled with tone, control, and refinement 

of attack, all elements Waln constantly 

emphasized. “Waln’s biggest expression 

was ‘refinement, refinement, refinement.’ 

Everything had to be refined, and that is 

what I needed. I’d grown up in such a poor 

family, and existence was enough of a 

struggle that I was prepared for it. I was 

not going to fail.” 7 Waln frequently gave 

McGinnis time beyond his regular lessons. 

Page 62 

THE CLARINET

He assigned scales, long tones that incorporated 

dynamics and intonation control, 

and intervals. He also required Baermann’s 

Complete Method, Langenus’ Complete 

Method, Jeanjean’s 16 Modern Etudes, 

and Cavallini’s 30 Caprices. After significant 

progress, McGinnis was accepted by 

audition to double major in school music 

and performance. 

McGinnis played clarinet in the Oberlin 

Conservatory Symphony Orchestra upon 

his acceptance as a performance major, performing 

under guest conductors Georges 

Enesco and Nadia Boulanger. His other 

studies included theory with Robert Melcher, 

education and conducting with Karl 

Gehrkens, composition with Norman Lockwood, 

and band with Arthur Williams. In 

his fifth year, he auditioned into the top 

woodwind quintet, and that spring, they 

traveled to New York City where they attended 

Toscanini’s evening broadcast. “I 

shook hands with Toscanini; I was not able 

to touch my hand for two weeks!” 8 

To pay for tuition, McGinnis worked 

various jobs, including playing flute, clarinet, 

and alto and tenor saxophone in the 

campus big band, Campus Cavaliers. The 

Oberlin faculty also named him Outstanding 

Instrumental Practice Teacher of 1939– 

1940, and chose him as director of the Oberlin 

High School Band for the 1940–41 

school year, which paid a $200 stipend. 

CAREER 

In the fall of 1941, McGinnis began 

his career at The Ohio State University as 

Woodwind Instructor and Assistant Director 

of Bands under Manley Whitcomb. 

His responsibilities were to assist Whitcomb 

with the marching and concert bands, 

conducting two regimental bands, coaching 

chamber ensembles, and teaching flute, 

oboe, clarinet, saxophone, and bassoon lessons 

and methods classes. In his spare time, 

he performed as principal clarinet with the 

Columbus Philharmonic Orchestra. 

Following the 1941 Japanese attack on 

Pearl Harbor, McGinnis was eager to serve 

his country. He auditioned for the United 

States Navy Pre-Flight School Band in 

Iowa City and won the solo clarinet chair. 

His first year of teaching came to an abrupt 

halt in May of 1942, when he joined fellow 

band members Bud Herseth on trumpet, 

and Ralph Johnson on flute, both of 

whom later played for the Chicago Symphony 

Orchestra. McGinnis assumed considerable 

leadership, performing stand-up 

solos with the band, and conducting whenever 

necessary. 

McGinnis additionally took flute lessons 

with Ralph Johnson and enrolled at 

the University of Iowa to study clarinet 

with Himie Voxman as well as arranging, 

orchestration, and composition with 

Philip Greeley Clapp. He recalls his lessons 

focused on tone refinement, narrowing 

his sound, and exploring repertoire. 

Voxman states: 

I could not teach him much clarinet, 

he was already a fine clarinetist 

when he came to me; it was mostly a 

matter of new literature. He was a 

first-rate student and performer… 

He is very particular about how he 

sounds, and how he plays… He was 

always prepared. That is his nature 

… it doesn’t matter whether he is 

conducting or playing… Of course, I 

used to hear him play in the band. 

Where people would normally play 

clarinet cadenzas that are slurred, 

Don would tongue them…There 

wasn’t anything he couldn’t seemingly 

do. 9 

Although McGinnis’ military band experience 

was beneficial, he desired a more 

active role in the war efforts, and requested 

a commission. After several training programs, 

he was assigned as a Communications 

Officer to the USS-Lucidor AF-45, 

a refrigerated cargo vessel with duty in the 

South Pacific. McGinnis feared the saltwater 

might damage his clarinet and shipped 

it home. However, he utilized his free time 

by practicing the flute. 

I practiced the flute three, four, or 

five hours every day…, and that is 

where I logged hundreds and hundreds 

of hours of flute practice on 

anything and everything I could 

think of. I probably had Taffanel- 

Gaubert with me, and worked on it 

cover to cover, trying to do the things 

that would be helpful. 10 

McGinnis was honorably discharged in 

December of 1945. He returned to Iowa 

City to complete his master’s degree, 

where he met and married Ruth Louise 

Ostrander, with whom he will celebrate 

their 60th wedding anniversary on November 

28, 2006. 

In September of 1946, he returned to 

The Ohio State University, with a short 

leave of absence in 1951 to complete a 

Ph.D. in Composition and Music Education 

at the University of Iowa. For his final 

thesis, McGinnis composed his Symphony 

for Band, which has been performed 

throughout the United States and was 

praised by Percy Grainger: “It seems to me 

the most expressive piece for band I have 

ever heard. It is also a comfort to find that 

a band conductor can be such a great composer 

— something I have never met with 

before to such a remarkable degree. Your 

Symphony is full of new sounds and new 

mental attitudes.” 

In 1952, McGinnis began a prestigious 

27-year career as the conductor of The 

Ohio State University Concert Band. As 

conductor, he performed at Philharmonic 

During his Navy years 

and Carnegie Halls, recorded the Ohio 

Music Educators Association required contest 

list for concert band, made numerous 

other recordings, and hosted notable guest 

artists, including Carmen Dragon, Lucien 

Cailliet, Vincent Persichetti, Leonard B. 

Smith, Doc Severinsen, and many others. 

In addition to his duties as conductor, 

McGinnis was a devoted flute and clarinet 

instructor. Flutist Randall Hester states, 

“Teaching became a religion for him, the 

communication between teacher and student, 

and also what a teacher can learn 

from the student.” 11 Throughout his career, 

he was a member of numerous organizations, 

including the American Bandmasters 

Association where he was served as president, 

and was elected to Honorary Life 

Membership in 1999. 


Outside the university, he enjoyed a 

prominent performance career, playing 

principal flute with the Columbus Symphony 

from 1952 to 1962, and acting as 

Assistant Conductor from 1964 to 1982. 

McGinnis was in high demand as a soloist 

on both clarinet and flute, being invited 

twice to solo with the famous Walden 

String Quartet on clarinet, and with the 

Alard String Quartet on flute. His reputation 

as a solo clarinet performer was felt 

by many to be unparalleled. Dr. Christopher 

Di Santo states, 

His level of playing as a clarinetist, 

like his conducting and flute 

playing, was impeccable in terms of 

musicianship and phrasing, exhibiting 

equal and unparalleled refinement 

in all style periods. His technique, 

virtuosic and brilliant, was 

always secure and flawless, his 

articulation sparkled, his rhythm 

was precise but had the appropriate 

amount of rubato when the music required 

temporal inflection, his intonation 

was exact, and his tone was, 

in my opinion, the ideal example of 

what he preached with his ‘R’s’ of 

clarinet tone: rich and resonant in the 

chalumeau register, round and ringing 

in the clarion register, and refined 

in the altissimo register. 12 

In 1961, the Selmer Company released 

Clarinet Contest Music, a record that 

showcased McGinnis playing a Bundy 

clarinet on one side and a Selmer clarinet 

on the other. This recording helped put 

McGinnis on the map, significantly promoting 

his clarinet performance career, 

while providing a valuable tool for clarinet 

students across the country. McGinnis 

made two additional recordings, Dr. Donald 

E. McGinnis Flute and Clarinet Duets, 

(1967), on which he plays both flute 

and clarinet, and Donald McGinnis Plays 

Clarinet with Pianist Myra Baker (1969). 

As McGinnis emerged as a nationally 

recognized performer, pedagogue, and 

conductor, Selmer capitalized on his reputation, 

enlisting him as a clinician first on 

clarinet, then flute. He traveled the United 

States performing and working with band 

directors and students on various topics, 

including Teaching the Clarinet, Clarinet 

Articulation, Clarinet Fundamentals, The 

Flute in Ensemble, The Flute-Clarinet 

Section and the Conductor and Principles 

of Phrasing. 

Page 64 

TEACHING AND EXPERIENCE 

McGinnis’ work ethic is evident in his 

performance, conducting and teaching. He 

labored to perfect his skills on both flute 

and clarinet, and cultivated specific methods 

for practicing and teaching articulation, 

technique, vibrato, tone, intonation, 

breathing and phrasing. “Good teaching 

begins with the ability of the teacher to 

convey his ideas to the student, show him 

how to practice, and stimulate him to want 

perfection.” 13 He felt it was vital that he 

was able to demonstrate to the student precisely 

what he was after. 

Although McGinnis is not convinced 

that “practice makes perfect,” he firmly 

believes that repetition is required for the 

development of any skill. “If you are going 

to do anything well, you have to spend a 

distinct amount of time doing just that, but 

trying always to do it related to other techniques 

of sound, embouchure, air, and others… 

I devised exercises for myself to 

have the blistering fast fingers, but with 

rhythm and evenness. It all begins with 

tempo, rhythm, and subdivision.” 14 

Essential to the development of any 

musician, is the importance of attending 

live performances and listening to fine recordings. 

McGinnis advocates listening to 

music of all genres to expand one’s knowledge 

of literature and to develop greater 

musical style. He conveys the universality 

of music that transcends obvious differences, 

thus musical lessons can be applied 

At age 2 years 

THE CLARINET 

to various contexts through imitation and 

recall. Demonstration provides a workable 

example for students to follow and 

develop. “I never said, ‘THE way to do it’ 

on any instrument, because I think there 

are many ways to sound. There are almost 

as many clarinet sounds as there are clarinet 

players.” 15 

McGinnis emphasized that fine musicianship 

begins with mastering one’s instrument. 

Former student Richard Stoltzman 

states, “I think he had the philosophy 

that you’ve got to lay your foundation for 

technique … you want to express your personality 

on the music, you want to play the 

music in a beautiful, creative way, but 

you’re not going to do that unless you’ve 

mastered the instrument.” 16 He requires 

constant metronome work, playing short 

segments of scales to systematically train 

the fingers. He utilizes alternate fingerings 

to facilitate difficult passages; he constantly 

practices and uses a variety of articulations; 

he works on maximizing breath intake and 

controlling expenditure; he stresses the 

production of fine tone and intonation. 

In teaching my flute students I 

usually begin from their best tone, 

tune as close to A-440 as possible. 

From there I progress in half-steps, 

both up and down, until the student 

can sustain with good tone and pitch. 

Next, I assign whole steps, then 

gradually larger intervals. These tone 

studies are played for me at each lesson, 

and suggestions made regarding 

tone and intonation. Just as surely as 

it is important to stress proper habits 

of posture, breathing, and embouchure, 

it is equally important to guide 

the student to a knowledge of the 

intonation tendencies of his instrument 

and teach him how to compensate 

and adjust notes to produce an 

even scale in all keys… If the teacher 

is aware of these tendencies he 

can help the student hear himself 

into the correct tone and intonation 

center as he practices daily, and thus 

avoid training his ear in faulty intonation, 

which, try as they may, instrument 

manufacturers have not 

been able to eliminate — almost every 

tone is out of tune so that each 

tone may be adjusted into the correctness 

of pitch needed in a certain 

chord, melody, or texture. 17

It is rare to find a musician who gains 

recognition as a superior educator, conductor, 

and performer on two instruments, 

while maintaining a high standard of 

achievement in all three fields. Depending 

on whom you ask, McGinnis influenced 

conductors, educators, clarinetists and flutists. 

However, at the core of his achievement 

is his vast academic knowledge. Harry 

Begian states, “His name was upfront 

from the 1940s. He always had an informed 

view because he was one of the 

first doctorates in the band field … it was 

an earned doctorate. He was a man of 

learning, and a cut or two above most band 

conductors and his colleagues because of 

his scholarly ability.” 18 

It is impossible to calculate how many 

have been and will be affected by McGinnis. 

Students such as Janet Ebert regard his 

far-reaching influence: 

He is a giant in the music world: 

a superior educator, the very epitome 

of conducting, an inspiring 

composer, and an amazing performer 

on flute, clarinet, and other woodwind 

instruments… Each of us has 

taken his expertise, devotion to careful 

renditions of quality music, passion 

for musical expression, and 

teaching techniques into countless 

classrooms and studios across the 

face of the earth. Young persons 

from kindergarten through graduate 

schools and major symphonies have 

been the unknowing recipients of 

his beneficence. 19 

Although McGinnis began his musical 

endeavors in less than ideal situations, he 

rose above all expectations to become one 

of the premier music educators, performers 

and conductors of the 20th century. Former 

student and Past-President of The American 

Bandmasters Association Edward 

Lisk comments: 

I viewed Dr. McGinnis as a model 

and mentor who represented an 

accomplished, respected conductor/ 

educator. He elevated my musical 

expectations and inspired me to 

study, listen, and practice expecting 

only the very best in musical performance 

and literature… Donald Mc- 

Ginnis was, is and always will be the 

most honorable person, musician, 

❝ 

I have always been in 

my mind a music educator, 

even though I am a 

performer and a conductor. 

Music has always been my 

greatest love,and teaching 

is parallel with that. 

conductor and educator in my life 

and career. 20 

McGinnis’ achievements have been 

recognized and awarded by leading organizations. 

However, he will be remembered 

largely through his students. His successor 

as conductor of The Ohio State University 

Concert Band, Craig Kirchhoff comments: 

Dr. McGinnis was, and always 

will be, a towering giant in the 

field of wind band music. What he 

achieved at The Ohio State University 

set the benchmark for artistic 

standards for wind bands at the collegiate 

level. Don is a very deep and 

a very gifted musician, and a deeply 

sensitive human being. His musicianship, 

his sensitivity, and his 

standards clearly define his legacy. 

Commensurate with his legendary 

musical gifts was his genuine love 

and respect for his students. This is 

Dr. McGinnis’ legacy. 21 

For McGinnis, music was not simply a 

job; it was a way of life. “I have always 

been in my mind a music educator, even 

though I am a performer and a conductor. 

Music has always been my greatest love, 

and teaching is parallel with that.” 22 


❝ 

Jaime Titus is a freelance flutist and 

teacher in Kansas City. She performs with 

Midwest Winds and the Overland Park 

Civic Orchestra. She earned a bachelor’s 

degree from Luther College, and a master’s 

and doctorate in flute from The Ohio 

State University. Her DMA document, 

“The Professional Life of Donald E. Mc- 

Ginnis, PhD” was completed in June 2005. 

Her teachers include Katherine Borst Jones 

and Carol Hester. 

END NOTES 

1 

Donald E. McGinnis, interview with author, July 

10, 2003, 9. 

2 


10, 2003, 9–10. 

3 


10, 2003, 11–12. 

4 


10, 2003, 16. 

5 


24, 2003, 8. 

6 


24, 2003, 8. 

7 


24, 2003, 9. 

8 


24, 2003, 19. 

9 

Himie Voxman, interview with author, July 15, 

2004, 1–2. 

10 

Donald E. McGinnis, interview with author, September 

19, 2003, 7–8. 

11 

Randall Hester, interview with author, September 

13, 2004. 

12 

Christopher Di Santo, questionnaire response to 

author, January 23, 2005, 4. 

13 

Donald McGinnis, “Good Intonation and How to 

Achieve It,” School Musician 34 (November 1962): 

44. 

14 

Donald E. McGinnis, interview with author, January 

16, 2004, 8, 11. 

15 

Donald E. McGinnis, interview with author, Sept. 

19, 2003, 16. 

16 

Richard Stoltzman, interview with author, November 

4, 2003, 2. 

17 

Donald E. McGinnis, “Good Intonation and How to 

Achieve It,” School Musician 34 (November 1962): 

44–45. 

18 

Harry Begian, telephone interview with author, 

March 27, 2005. 

19 

Janet Ebert, questionnaire response to author, December 

10, 2004, 1, 5. 

20 

Edward Lisk, questionnaire response to author, 

January 13, 2005. 

21 

Craig Kirchhoff, e-mail to author, April 19, 2005. 

22 

Donald E. McGinnis, interview with author, February 

13, 2004, 7. 




during the last week of Feb ruary, 

May, August and No vem ber. De - 

livery time within North America 

is nor mally 10–14 days, while airmail 

delivery time outside North 

America is 7–10 days. 


Hyacinthe Klosé 

(1808–1880): 

His Works for Clarinet 

by Jean-Marie Paul 

KLOSÉ’S LIFE 

How did it happen that Klosé is so 

little known The man who de - 

signed with Louis Buffet the clarinet 

which is still in use today, who wrote 

the most popular clarinet method in the 

world, among many works for clarinet, and 

who was professor of the Paris Con ser va - 

tory for 30 years It is true that we have no 

recordings of Klosé playing (to day’s clari - 

netists have recorded few of his works) and 

that most of his works are out of print. This 

article is intended as an ho m age to the fa - 

ther of this generation of clarinetists who 

devoted their life to their instrument. 

Corfou is a mountaineous island of 

Greece. Klosé was born there on October 

1, 1808. His French parents gave him the 

charming first names of “Hyacinthe-Eleo - 

nor.” Klosé also had pupils with romantic 

names: Cyrille-Chrysogone Rose, Auguste 

Paul Mimart (father of Prosper), Augusta 

Holmes… (1,2) Why Corfou Corfou had 

once again become a French territory at the 

Treaty of Tilsit the previous year. The war 

be tween the French and British armies 

(and Klosé’s educational needs) probably 

convinced his parents to return to France. 

Klosé enrolled first in the 6ème Régi - 

ment de Cavalerie de la Garde Royale, 

Paris. He already had a great reputation 

as a soloist at this time, and Jean-Baptiste 

Gam baro (3) dedicated to him his 4ème Air 

varié. In April 1831, and for five years af - 

terwards, Klosé was bandmaster of the 

9ème Régiment d’infanterie Légère, then 

of the 11ème Régiment d’Artillerie (1836) 

and he began to compose works for concert 

band. At the same time (1831), Fréd - 

éric Berr (1794–1838) became professor at 

the Paris Conservatoire, and Klosé was 

one of his first pupils. Berr praised his pu - 

pil so much that when he released his 

meth od for 14 keys, he dedicated it to him 

in 1836, as Klosé was second clarinet at 

the Théâtre des Italiens. 

Klosé became professor at the Gymnase 

militaire de musique that was just created 

(Berr was the Director) and first clarinet at 

the Orchestre du Gymnase. There Berlioz 

listened to him and wrote in a newspaper, 

commenting on his embouchure and qual - 

ity of sound (superior to human voice in 

mellowness and melancholy tenderness, 

says Berlioz): 

La facilité avec laquelle il se joue 

des plus scabreuses difficultés de 

l’instrument n’est pas à nos yeux son 

principal mérite, il en possède un 

autre d’autant plus précieux que le 

travail le plus opiniâtre ne saurait le 

donner, je veux parler de l’embou - 

chure et de la qualité de son. Bien 

que le timbre de la clarinette jouée 

par M. Klosé offre beaucoup de rapport 

avec celui qui sait en tirer son 

habile maître, il y a pourtant en lui 

un caractère particulier qui lui donne 

une physionomie originale, une dou - 

ceur et une expression avec laquelle 

lutterait en vain tout autre instrument 

à vent. La voix humaine, à mon 

gré, ne s’approche même pas du ve - 

louté et de la tendresse mélancolique 

de ces sons de clarinette. (8) 

Berr died on September 24, 1838. On 

January 1, 1839, Klosé succeeded him at 

the Paris Conservatoire at the age of 30 

and taught there for 30 years. From 1841 to 

1844 he was solo clarinetist of the Thé â tre 

des Italiens. (After Berr’s death, Iwan Mül - 

ler was the soloist from 1838 until 1841.) 

Klosé played his own works and those 

of Berr many times, particularly for the 

Société des Concerts du Conservatoire Or - 

chestra, where he became a member (soci - 

é taire) on January 3, 1843, a chair that he 

resigned in 1851 (6) ; apparently he never 

travelled as a player outside of France. 

Around 1837–1838, Klosé had the first 

discussions with Louis-Auguste Buffet 

about the famous clarinet with moving 

rings (clarinette à anneaux mobiles), at a 

time when clarinets with the Müller-system 

(13 or 14 keys) were firmly established 

in France. A patent was registered 

on February 19, 1844, under the number 

16.036. The patent does not quote the 

name of Boehm, nor the name of Klosé. 

From 1860 until today, the instrument 

was improperly given the name “Boehm 

clarinet.” Let’s remember that Theobald 

Boehm was the first to adapt the moveable 

rings system to the flute, but he never had 

any affiliation with the clarinet. 

You must also know that Louis-Au guste 

Buffet (sometimes called “Buffet jeune,” 

because he was younger than his brother 

Denis, also called Buffet-Auger) had a separate 

workshop from his uncle Jean-Louis 

Buffet, director of Buffet-Cram pon (son of 

Denis). (See W. McBride’s articles in End 

Note 4) 

The same year (Klosé was always ac - 

tive in several fields…) he published his 

fa mous tutor for the instrument. He dedicated 

his Methode to Michel Carafa, who 

succeeded Berr in 1838 as director of the 

Gymnase de Musique, and had become pro - 

fessor of composition of the Conservatoire. 

KLOSÉ’S PUPILS 

Klosé taught the clarinet at the Paris 

Con servatoire from 1838 to 1868. (From 

1835 to 1840 there was also a preparatory 

class held by Charles Lamour.) 

The list of laureates is in the appendice. 

Among them, we must notice Adolphe 

Leroy, Cyrille Rose, Charles Turban, who 

succeded him as professor respectively in 

1868, 1876 and 1888. We do not have 

space here to tell the story of all of them. 

Many of his pupils became bandmasters 

(and composers): 

Jean Paulus (who became the first conductor 

of the Garde Republicaine Band) 

Henry-Joseph Lardeur, who became 

assistant conductor (sous-chef) of the 

Garde Republicaine, the 69th Regiment 

Infantry, then conductor of the Ecole 

d’Artillerie de Versailles 

Arthur-Leon Grisez (father), clarinetist at 

the Orchestre du Théâtre Italien, Op éra- 

Comique, Concerts Pasdeloup; the fa - 

mous chair of the Société des Concerts 

du Conservatoire orchestra; when he re - 

tired, he conducted the Band of Valence 

Page 66 

THE CLARINET

taught orchestration and the clarinet. 

(She wrote not only the 1900 solo Fan - 

tai sie, but also the sight reading piece 

Molto lento for the same year.) (5) 

It is funny to notice also that among 

Klosé pupils, there were : 

Adolphe Leroy, tester of instruments at 

Buffet, like Klosé; director of Buffet- 

Cram pon from 1859 to 1865 and died 

the same year as Klosé. 

Frédéric Selmer, father of Henri Selmer, 

founder of the famous manufacturer, 

and Alexandre Selmer, brother of 

Hen ri, who opened a Selmer office in 

New York. 

Klosé was the first professor to have 

foreign students in his class, like Louis 

Mayeur (Belgium, First Prize, 1860), Felix 

Hernandez (Cuba, 2nd accessit, 1861), 

and Gottlieb Ruthard (Germany, Second 

Prize 1862). 

In 1864, Klosé was awarded the Che - 

valier de la Légion d’Honneur by the government. 

Later in his life he had the pleasure 

of attending an Exhibition in 1878 

where Buffet earned a Gold Medal. Hya - 

cinthe-Eléonor Klosé died in Paris on Au - 

gust 20, 1880, letting the “souvenir ineffaçable 

de son style mesuré, de sa sonorité, 

de son mécanisme prodigieux et de ses 

aptitudes pour le détaché.” (9) 

KLOSÉ’S WORKS 

WITH CLARINET 

It is good to mention that Klosé wrote 

for other instruments: 

For saxophone: three Methods (aigu et 

so prano), (alto et ténor), (baryton et. 

Klosé’s Méthode (1912 edition) (J.-M. Paul collection) 

Auguste-Paul Mimart, clarinetist at the 

Opera-Comique before his son Prosper 

(future teacher at the Conservatoire), 

bandmaster of the Gendarmerie Im péri - 

ale and after the War of 1870, of the 

Mu sique de l’Ecole d’artillerie de 

Vincennes 

Louis A. Mayeur (whom he also taught 

the saxophone). Mayeur was bass clarinetist 

and saxophonist at the Opera, 

and conducted the Summer Concerts of 

the Jardin d’Acclimatation, one of the 

gardens and zoos of Paris; he wrote a 

virtuoso Caprice-Polka for clarinet. 

Eugène Mastio, who was one of the best 

pu pils of Klosé, but preferred to conduct 

many military bands and to compose 

for them. 

Charles-Phillippe Starck began his les - 

sons with Klosé, but earned his prize 

with A. Leroy; clarinetist in the Garde 

Republicaine, he became assistant conductor 

of the 129th Regiment of Infan - 

try, then bandmaster of the 40th Regi - 

ment of Infantry 

We also can mention: 

Augusta Holmès, one of the rare female 

com posers of the time, to whom Klosé 

Klosé’s portrait (by Alphonse Loup) 


asse) published by Leduc, and various 

works for the instrument. Did you know 

that Adophe Sax was Klosé’s friend, 

and that, closer to our time, Charlie 

Parker worked on his studies 

For other wind instruments: the Air Var - 

ié, op. 21 for tuba (“ophicléide”) and 

piano, still available. 

For bands: Marche funèbre, Retraite aux 

flambeaux, Andante religioso, L’Artil - 

leur et le bandit (Galop), Augusta 

(Marche, written for Augusta Holmès), 

some pas redoublés (for marching 

bands: L’Etape, dardanus, Baden - 

burg), etc. 

For clarinet: Klosé is famous for his 

Méthode, published first by J. Meis son - 

nier in 1843, then by Leduc, and translated 

into several languages. Guy Dan - 

gain, who realized an edition of it in 

seven volumes for Billaudot, calls it “la 

bible du clarinettiste.” 

The books of studies are remarkable. 

His Solos de concours for the Paris 

Con servatoire, that he composed during 

his teaching tenure (1839–1868), maintained 

the tradition that called for a composition 

to be written by the professor of the 

class. After Klosé’s retirement in1868, this 

became obsolete, and a commission was 

designed to provide the contest piece. Nev - 

er theless, some pieces by Klosé were re - 

quired again in some examinations: 

1870: 2nd Solo (never proposed before) 

1872: 4th Air Varié (already proposed in 

1845) 

1874: 3rd Solo (already proposed in 1844) 

1875: 11th Solo (already in 1862 and 

1866) 

1876: idem 

1881: Polonaise (never proposed before) 

1885: 9th Solo (already in 1854, 1861, 

1865) 

1895: 11th Solo (already in 1862, 1866, 

1875, 1876) 

On his side, Klosé also dedicated some 

of his works. For instance, 2nd Air Varié, 

to Cavallini (1843); 6th Air varié to Tur - 

ban (1874); 7th Solo to Romero (1851); 

and to his pupils: 3rd Air Varié (1848), to 

Sourilas (1st Prize in 1846), his 10th Solo 

(1860) to Henri Desormeaux, and his 14th 

Solo (1877) to J. Gibert. 

* * * * * 

The list of his works and transcriptions 

that follows has been compiled mainly 

from a search made at the Paris Bib lio - 

thèque Nationale. 

The publication date is provided. The 

fantaisies on operas have been written 

most ly in collaboration with A. Leduc. The 

pieces followed by a (*) were reissued and 

revised by Paul Jeanjean around 1925, also 

by Leduc. Unfortunately, most of them are 

out of print. (Costallat and a part of Ri - 

chault have become a fund of Billaudot.) 

AIR VARIE, op. 7 (Solo de concours 1842, 

1843. 1849), Richault, Leduc, 1842 

2e AIR VARIE, op. 8, dedicated to Ca val - 

lini, Richault, Leduc, 1843 

3e AIR VARIE, op. 11, Si ♭ , dedicated to 

his pupil Sourilas (Solo de concours 

1848), Costallat, Leduc, 1848 

DEDICATIONS 

Klosé had good relationships with the 

clarinetists of his time as can be seen by 

the works listed below that were dedicated 

to him: 

Berr: 10th Air varié (1835) and Traité 

(1836) 

Cavallini: Chant grec (1843) 

Gambaro: 4th Air varié (ca. 1840) (See 

End Note 7) 

Page 68 

Klosé portrait (Credit: Buffet Crampon brochure, 1962, with their kind permission) 

THE CLARINET

4e AIR VARIE, op. 12, Fa (1845, 1855, 

1872) 1st ed. Costallat, 1845; Mille - 

reau, 1877 

4e AIR VARIE, arr. Rouveirolis for cl. & 

band, distr. Margueritat 

5e AIR VARIE, op. 15, Fa , 1849 (Solo de 

concours 1868), Richault, 1894 

6e AIR VARIE, dedicated to Turban, Le - 

duc, 1874 (*) 

7e AIR VARIE, op.18, Costallat, Leduc, 

1876 (*) 

8e AIR VARIE, Leduc, 1879 (*) 

AIRS DE (SI J’ETAIS ROI) de A. ADAM, 

for clar. alone, 1864 

AUBE (L’). 1ère Pensée, Leduc, 1881 (*) 

BARBIER (LE) DE SEVILLE, lère 

Fantaisie (Klosé et Leduc), n. d. (*) 

BIJOU (LE) PERDU, d’A. ADAM, petite 

fantaisie d’après E. Depas, Leduc, 1868 

BUCEPHALE, célèbre Galop de L. DES - 

SAUX , for cl. & piano, 1884 

Idem, for cl. & band, 1874 

CALME (LE), mélodie, P. Gournas, 1878 

CARNAVAL (LE) DE VENISE, fantaisie 

(Klosé et Leduc), Leduc , n. d. (*) 

CELEBRE MARCHE INDIENNE D’AD. 

SELLENICK, for cl. & piano, 1884 

CHEMIN FAISANT. 2ème Pensée, LE - 

DUC, 1881 (*) 

CONCERTINO, oeuvre posthume (see 

15th Solo), Leduc, 1890 (*) 

CONCERTO (Solo de concours, 1840 & 

1841), Leduc, n.d. 

DECAMERON (LE) des jeune clarinettistes, 

30 petites fantaisies divisées en 2 

suites (cl. alone), 1865 

DERNIERE PENSEE DE WEBER, for cl. 

& piano, 1879 

DUETTINO CONCERTANTE, for 2 clar. 

(or clar. & alto sax) & piano, P. Gouras, 

1876 

ELLE EST PARTIE, Fantaisie expressive 

d’Aristide de LATOUR d’après DE - 

PAS, 1866 

ESPERANCE, andante cantabile, P. 

Gour nas, 1877 

ETUDES CARACTERISTIQUES pour 

clar., Leduc, 1877 

ETUDES DE GENRE ET DE MECAN- 

ISME pour clar., Leduc, 1882 

ETUDES ET EXERCICES pour la clar.. 

45 exercices dans tous les registres et 

sur les différentes combinaisons d’ar - 

ticulations. avec études de rythmes et 

d’intervalles complétés par 27 exercices 

spéciaux et de technique. moderne, 

Leduc, n. d. 

14 ETUDES pour clar. tirées des oeuvres 

de L. SPOHR, J. MAYSEDER, P. BAIL- 

LOT et Ferdinand DAVID, op. 18, 

Richault, 1853 

20 ETUDES pour la clar. d’après KREUT - 

ZER et FIORILLO, Leduc, n.d. 

30 ETUDES pour la clar. d’après Henry 

AUMONT, Leduc, 1854 

EUREKA, mélodie, P. Gournas, 1878 

EVA, mélodie, P. Gournas, 1878 

EXERCICES JOURNALIERS pour la 

clar., Leduc, 1881 

FILLE (LA) DE LA VALLEE. fantaisie 

d’après DEPAS, Leduc, 1866 

FREYSCHUTZ (LE)’de WEBER, 6e 

petite fantaisie d’après E. DEPAS, Le - 

duc, 1888 (*) 

FURIOSO (IL), fantaisie d’après Léopold 

DANCLA, Leduc, 1867 

GAZZA (LÀ) LADRA de G. ROSSINI, 

5e petite fantaisie d’après E. DEPAS, 

Leduc, 1888 

HELENA. mélodie for clar. & piano, OR 

clar. & band, P. Gournas, 1876 

INVITATION (L’) A LA VALSE de 

WE BER, d’après E. DEPAS, Leduc, 

n. d. (*) 

LILAS (LES). valse de E. DERANSART, 

fantaisie concertante, Leduc, 1873 

MESANGE POLKA, solo for E ♭ clar. solo 

& band, P.Gournas, 1879 

METHODE POUR L’ENSEIGNEMENT 

DE LA CLARINETTE A ANNEAUX- 

MOBILES ET DE CELLE A 13 

CLEFS. J. Meissonnier, 1843 

METHODE COMPLETE DE CLARI - 

NETTE (nouvelle. éd. en 5 parties), 

Leduc, var. eds 

MOISE de ROSSINI. lère petite fantaisie 

d’après DEPAS, Leduc, 1879 

4 MORCEAUX ELEGANTS, op. 22: 

1er Livre 1. Fantaisie sur Marco Spada, 

opéra d’AUBER 

2. Cavatine du Barbier de Séville, opéra de 

ROSSINI 

2e Livre 3. Souvenirs de Varsovie, mazurka 

de SCHULHOFF 

4. Cavatine de la Norma. opéra de BELLI- 

NI, J. Meissonnier, 1854 

15 GRANDS MORCEAUX pour étudier 

le style moderne et conduire à 

l’exécution des morceaux de concert, 

pour clar. avec l’accompagnement 

d’une 2e clar., Leduc, n.d. 

Idem, édition revue par L. GRISEZ, Leduc, 

1925 

NORMA (LA) de BELLINI, 2ème Fan - 

taisie, par Klosé et Leduc, n. d. 

OBERON de C.M. de WEBER, petite fantaisie 

d’après E. DEPAS, 1868 (*) 

OISEAU (L’) BLEU de A.THYS, caprice 

mélodique d’aprés E. DEPAS, Leduc, 

1867 

PASTORALE, 3ème Pensée, Leduc, 1881 

(*) 

PENSEZ A MOI, polka, Leduc, 1876 

POLONAISE (Solo de concours, 1881), 

Leduc, n.d . 

POLKA DES MARTEAUX D’EMILE 

FISCHER, 1890 

PROGRES (LE), 16 petites fantaisies brillantes, 

1ère et 2ëme Suite for clar. 

alone, Ledus, 1866 

ROSIER (LE), mélodie, P. Gournas, 1878 

SAPHIR (LE), mélodie, P. Gournas, 1878 

SI J-ETAIS ROI, d’A. ADAM, fantaisie 

d’après E. DEPAC, Leduc, 1864 (*) 

SOLO BOLERO (Solo de concours, 1847), 

1er SOLO en Sol, op. 9, dedicated to 

Oscar Buss (Solo de concours, 1839, 

1850), Costallat, 1839 

2ème SOLO, op.10, ded. to Baron Guist du 

repaire (Solo de concours, 1870), Meis - 

sonnier, 1840 (also for clar. & or ches - 

tra), Leduc, n.d. 

3ème SOLO en Sol, op. 13 (Solo de concours, 

1844, 1874), Costallat, Leduc, 

1844 

Idem, arr. P. Romain for clar. & band, 

Evette & Schaeffer, n.d. 

4ème SOLO en Sol, op. 14, Solo Bolero, 

Costallat, 1847 

5ème SOLO en Fa, op. 15 (Solo de concours, 

1846, 1852, 1859), Costallat, 

1846 

6ème SOLO en Ré, op. 16, dedicated to 

A.E. Belletti (Solo de concours, 1856, 

1867) Costallat 

7ème SOLO en Ut, op. 17, dedicated to 

Romero (Solo de concours, 1851), Ri - 

chault, 1851 

Idem, arr. E. Grossain for clar. & band 

8ème SOLO en Sol, op.19 (Solo de concours, 

1853, 1858), Richault, 1853 

9ème SOLO en Fa, op. 25 (Solo de concours, 

1854, 1857, 1861, 1865, 1885) 

Costallat, 1854 

10ème SOLO en Sol, op. 27, ded. to his 

pupil Desormeaux (Solo de concours, 

1860, 1863, 1892), Richault 

11ème SOLO en Ut, op. 28 (Solo de concours, 

1846, 1866, 1895), Costallat, 

1862 

12ème SOLO en Mi ♭ , oeuvre posthume 

(dedicated to H. Mathé), A. SAX, 1864 

Idem, Leduc, 1890 (*) 

13ème SOLO, dedicated to his son Hip - 

polyte (not in Paris Library) Buffet- 

Crampon 


14ème SOLO for clar. & piano, or quintet; 

dedicated to his pupil J. Gibert, P. Gou - 

mas, 1873 

15ème SOLO, Concertino, oeuvre pos - 

thume, dedicated to his son Henri, 

Leduc, 1890 

SOUVENIR DE BELLINI, fantaisie élégante, 

par Klosé et Leduc, n. d. 

VIOTTI: 3 DUOS CONCERTANTS 

FACILES ET PROGRESSIFS for 2 

clar., 1876 

YOUKA (LE), mélodie fantaisie, P. Gour - 

nas, 1878 

KLOSÉ’S AVAILABLE 

WORKS IN 2006 

Leduc: 

20 ETUDES D APRES KREUTZER ET 

FIORILLO (AL 07234) 

30 ETUDES D APRES AUMONT (AL 

07233) 

45 EXERCICES D ARTICULATION 

(AL 17089) 

ETUDES CARACTERISTIQUES (AL 

05963) 

ETUDES DE GENRE ET MECANISME 

(AL 06401) 

EXERCICES JOURNALIERS (AL 

06400) 

METHODE DE CLARINETTE, VOL. 1 

(FR/ENGL./SPANISH:AL 24925) 

METHODE DE CLARINETTE VOL. 2 

(FR/ENGL.: AL 24924) 

METHODE DE CLARINETTE COM- 

PLETE (in one vol. FR/ENGL.: AL 

24926) 

METHODE EXTRAITE DE LA METH- 

ODE DE BERR CLARINETTE (ex - 

cerpts : AL 07231) 

14 ETUDES OP. 18 (rev. by Delécluse) 

AL 20957 

Editions Billaudot: 

A LA PORTEE DU JEUNE CLARINET- 

TISTE (7 volumes, the Klosé studies 

are reorganized by Guy Dangain: 1: 

220 exercices de mécanisme, 2: 295 

exercioces de mécanisme; 3: 20 études 

élémentaires d’après Klosé; 4: 74 

études sur les rythmes et articulations; 

5: 16 études faciles sur le langage 

musical; 6: 30 duos faciles; 7: 15 

grands morceaux en forme de duo). 

Klosé/Berr: 12 ETUDES MELODIQUES 

(GB7282, 2005) (The Berr 12th Vari - 

ation on Paganini was included in the 

contest list of pieces for the 2006 Paris 

Conservatory entrance requirements.) 

Page 70 

14 ETUDES (Cotage : R12552) 

20 ETUDES MELODIQUES (Arr. Robert 

FONTAINE) GB2309 

11EME SOLO EN UT MAJEUR (R4262) 

1ER SOLO EN SOL MAJEUR (R12519) 

7EME SOLO EN UT MAJEUR (R10963) 

Other Publishers (This list may not be 

complete.) 

Lemoine: 

Professor Yves Didier has published Vari - 

ance avec Hyacinthe Klosé: études 

faciles adaptées pour 1ere année de 

clarinette, 2000 

Rubank: 

Klosé/Lazarus Method for clarinet (Arr. 

Harvey Whistler) 

I.M.C. (International Music Company): 

30 Etudes (J. Kirkbride), ref. 3244 

20 Technical Studies (S. Drucker), ref. 

2587 

20 Studies Selected from Kreutzer and Fio - 

rillo, ref. 2588 

20 Characteristic Studies (S. Drucker), 

ref. 3132 

Carl Fischer: 

Celebrated Method for the Clarinet, arr. by 

Simeon Bellison (294 pages) 

Daily Exercises, arr. by Harry Bettoney 

Klosé-Prescott First and Second Year, arr. 

Gerald R. Prescott 

My First Klosé, arr. by Daniel Schmidt 

Scales and Exercises 

Edwin F. Kalmus: 

First Air Varie for Clarinet and Orchestra, 

set of parts for 1, 1, 0, 1 - 2, 1, 1, 0, timpani, 

strings, [solo clarinet] score not 

available. Duration 8 minutes. 

P.S. A contemporary French composer, 

Jean-Michel Damase, has written an ho - 

mage to Klosé for clarinet alone: Hom - 

mage à Klosé: chaconne pour clarinette 

seule en si ♭ , Billaudot, 1987. 

Paul Harvey also published a funny 

piece (as usual), Klosé-Chops & the Three 

Berrs, “Reyn” Publisher. 

KLOSÉ’S WORKS ON RECORD 

I may have forgotten some recordings, 

but from my database of recordings with 

clarinet, I have only found the following 

players: 

THE CLARINET 

Esperance, for clarinet and piano: by 

Jacques Lancelot (LP London, La clarinette 

classique, Japan, 1976) 

Fantasy on “Oberon”: by Karl Leister 

(LP Camerata, Japan; released on CD on 

the same label in 2000) 

Nikolaus Friedrich, clarinet, (CD Vir - 

tu ose Paraphrasen über Themen aus 

deutsche Opern, Bayer, Germany; 2000; 

includes the “Freischutz” Fantasy of C. 

Rose) 

Fantasia su “La Sonnambula” di V. 

Bellini, op. 20 per oboe, clarinetto e pi a - 

noforte: by Fabrizio Meloni: Dad Records, 

Italy (on CD, 2005) 

Fifth Air Varié: by Brent Coppenbarger 

(CD Coppen 001, sold by Dorn Pub. in the 

USA) 

Guy Dangain told me he has a project 

to make a CD devoted to Klosé. 

APPENDIX: PRIZEWINNERS AT 

THE PARIS CONSERVATORY 

DURING KLOSÉ’S TENURE 

Year of competition, Name and Title 

of Contest Piece, Prize Winners: 

Unless otherwise stated, it is a First 

Prize; each name is quoted once with his 

highest award; if it is indicated accessit, it 

means he never received a prize. This list 

is an excerpt from Philippe Cuper and 

Jean-Marie Paul’s article (see End Note 2). 

1837 Fr. BERR: 3e Solo op. 13 

WILLEMOT 

1838 Fr. BERR: 3e Solo op. 13 

HANDSCHU 

DUHAMEL 

1839 KLOSÉ :ler Solo en sol op. 9 

(No 1st Prize) 

2nd Prize: MESSEMER 

1840 KLOSÉ: Concerto 

BLANCOU Victor-Antoine 

1841 KLOSÉ: Concerto 

REGHEERE 

2nd Prize: PARES Eugène 

1842 KLOSÉ: Air varié 

SOLER 


RENAULT 

1844 KLOSÉ: 3e Solo op. 13 

SOUALLE 

1845 KLOSÉ: 4e Air varié op. 12 

LEROY Adolphe 

2nd Prize: LECERF B.A. 

accessit: BARBET


SOURILAS 

1847 KLOSÉ: Solo bolero 

RQSE Cyrille 

1848 KLOSÉ: 3e Air varié op. 11 

PARES Philippe (father of Gabriel the 

band master of the Garde Republicaine) 

2nd Prize: GUYARD 

accessit: FRISNAIS 


LAGNY 

2nd Prize: WIPFFLER 

accessit. ROUULON 

1850 KLOSÉ: ler Solo op. 9 

IBERT (1st Prize, 1st named) 

MIMART P.A. 



2nd accessit: DELILLE 


BAGUENIER-DESORMEAUX (1st Prize, 

1st named) 

BOUTMY K.I. 


MAUPRETY 

2nd accessit, 2nd named BEAUCHAM 


LEDE 

2nd Prize: PARES CI.-J. 


FABRE 


LEROUGE 

2nd Prize: BEAURAIN 


GRISEZ Léon 

2nd Prix: TOUZARD 



2nd Prize: PINON 

1859 KLOSÉ: 5e Solo (fragment) 

CARPENTIER 

2nd Prize: GIBERT 

1860 KLOSÉ: 10e Solo en sol, op. 27 (see 

also l863, 1892) 

MAYEUR Louis A. (born in Menin, Bel - 

gium; year of birth: 1837) 

2nd Prize: BLEGER Adolphe; year of birth: 

1835 

ler accessit: REYNAUD Joseph, 1841 

2e accessit: FICHU Joseph, 1841 

1861 KLOSÉ: 9e Solo en fa, op. 25 (see 

also 1854, 1857, 1865) 

RAIMOND Edouard, 1835 

2nd accessit: HERNANDEZ Felix (Cuba, 

1839) 

3rd accessit: FAIVRET Eugène, 1831 

1862 KLOSÉ: 11e Solo en ut, op. 28 

(see also 1866, 1875, 1876, 1895) 

LARDEUR Henry, 1840 

PECQUEUR “AINE” Edouard, 1834 

2nd Prize: RUTHARD Gottlieb (Stuttgart, 

1840) 

1863 KLOSÉ : 10e Solo en sol, op. 27 

No 1st Prize 

2nd Prize: PARME Léon, 1840 

2nd accessit: DEVOS Paul, 1838 

3rd accessit: COUSIN Jean, 1843 

1864 KLOSÉ: 12e Solo 

MASTIO Eugène, 1844 

lst accessit: FAURES Jean, 1834 

1865 KLOSÉ: 9e Solo en fa, op. 25 

TURBAN Charles, 1845 

2nd Prize: RAIMOND “JEUNE” François, 

1838 

lst accessit: BOUDET Edouard, 1842 

1866 KLOSÉ: 11e Solo en ut, op. 28 

HEMME Constant, 1841 

lst accessit: MORTIER Pierre, 1835 

1867 CAPELLF, Achille, 1848 

2nd Prize: HUGUET Gabriel, 1845 

1868 KLOSÉ: 5eAir varié en fa, op.15 

ROUSSEAU Charles 


Formerly a university librarian and am - 

a teur clarinetist, Jean-Marie Paul founded 

Clarinette Magazine (1983–98). He 

joined Vandoren in 1993 in Paris, creating 

the Espace Partitions (15,000+ scores for 

clarinet/saxophone). He advises clarinetists 

regarding their concert programs, CDs, 

searches and has been working during the 

last 30 years on a “World Repertory of the 

Clarinet.” (He will present a lecture at the 

2006 I.C.A. ClarinetFest® in Atlanta). His 

e-mail: , and Web 

site: . 

Jean-Marie Paul 

(photo: Nicolas Roux — Vandoren ©) 

END NOTES 

1 

Paul, Jean-Marie. “Hyacinthe Klosé,” Clarinette 

Magazine, N° 2, 1984, pp. 21–25 (out of print) 

2 

Cuper, Philippe/Paul, Jean-Marie. “Les concours du 

Conservatoire de Paris des origines (1795) à 

aujourd’hui (1986).” Clarinette Magazine, N° 12, 

1987 (out of print). Translated in The Clarinet, Vol. 

XV, No. 3, pp. 40–48 

3 

See also the magnificent books of Pamela Weston 

(Clarinet Virtuosi of the Past, More Clarinet Virtu - 

osi, Yesterday’s Clarinettists: a sequel) 

4 

William McBride, Henri Selmer et la facture in - 

strumentale. mémoire, Ecole pratique des Hautes 

Etudes, 2004. W. McBride also wrote the articles 

“Buffet-Crampon” and “Selmer” for the present edition 

of Grove’s Dictionary (also online). 

5 

The pieces of Augusta Holmes are available in 

specialized sheet music shops. (Vandoren-Paris has 

them.) 

6 

The Société des Concerts du Conservatoire Or - 

chestra lasted from 1828 to 1967. (Its successor was 

the Orchestre de Paris). During Klosé’s activity in 

this orchestra, the composers D. Auber and Am - 

broise Thomas were presidents, and the conductors 

were F. A. Habeneck and Narcisse Girard. 

7 

Jean-Baptiste Gambaro (1785–1825), solo clarinet 

of the Theatre Italien in Paris, was also a publisher 

and a music dealer. His works are often mistaken for 

those of his presumed brother, Vincent. 

8 

Berlioz, in: Le Rénovateur, 17 mai 1835 

9 

André Villetard (no source for the phrase), is also 

the writer of a famous paper mentioning many clarinetists 

in La revue orphéonique, reproduced in Guy 

Dangain, A propos de la clarinette, Billaudot, 1978, 

pp 83–86 

The Clarinet takes 

great pride in welcoming 

Jean-Marie Paul 

to its Editorial Staff. 

As the editor/publisher 

of Clar inette Magazine 

for 15 years, a professional 

librarian, and a 

longtime supporter of 

the ICA and The Clar - 

inet, he will provide a 

unique European perspective 

and special ex - 

pertise, and will contri - 

bute articles and re ports 

on the European clarinet 

scene. Editor 


Medley 

with 

Digressions 

Page 72 

by Henry Gulick 

How is this for a line-up A re - 

membrance of Dr. Frederick Fen - 

nell (1914–2004), a few kind words 

for the E ♭ clarinet, something controversial, 

ending with Merry Pranks! Dr. F led the 

band for one week at Interlochen in 1938 

— he struck me as young and talented, en - 

ergetic and enthusiastic. Did I say young 

Loren Maazel had the orchestra for a 

week that summer, and he was just eight 

years old! 

Fast forward to Rochester, fall of ’39. 

With one simple question Dr. Fennell puts 

me on a new and more exciting path: 

“Would you rather be one of many B ♭ clarinets 

or the one-and-only E ♭ ” I knew the 

E ♭ only by reputation: unsavory, due to 

problems with intonation, blend and balance. 

But I did say, “I’ll take the high 

road,” and overnight I found myself the 

one-and-only in the Symphonic Band, AND 

the student orchestra, AND the Rochester 

Philharmonic. At that point I might have 

said, “Hold on here a minute! I am really 

flattered, but I don’t recall auditioning for 

this! You’re entrusting this in strument to a 

callow freshman” There was no retreat. A 

local music store had a drawer full of 

wooden E ♭ mouthpieces, and I found that a 

B ♭ reed could be trimmed to fit. Con duc - 

tors Hanson, Fennell and White were easy 

to play for; José Iturbi didn’t say much — 

or smile much. 

Incidentally, Iturbi moved to Holly - 

wood in the late ’40’s and appeared in several 

movies. Typical was Three Daring 

Daughters; Video Movie Guide summariz - 

es: “Divorcee Jeannette Mcdonald meets 

and weds pianist José Iturbi — her daughters 

object until they learn he can play boogie-woogie.” 

He was a totally different 

per son up there on the screen! 

But what an exhilarating experience the 

E ♭ clarinet was! In the orchestra the quan - 

tity was limited, the quality was superb! 

First and foremost of course: Till Eu len - 

THE CLARINET 

spiegel; was there ever another work so 

neatly tailored to an instrument Even 

though Strauss did specify clarinet in D. 

Following this, Berlioz’ Sinfonie Fantas - 

tique, Ravel’s Bolero and Daphnis et Chloé, 

the Shostakovich 5th, and a now-forgotten 

work by Deems Taylor, Circus Day, which 

had a cadenza for the E ♭ in the “Clowns” 

section. Hanson must have liked this work 

— we played it in Rochester and also at 

the New York World’s Fair. And three 

pieces I only dreamed of playing: Stra vin - 

sky’s Rite of Spring, Copland’s El Salón 

México and the Polka from the Age of 

Gold, by Shostakovich. 

Meanwhile, in the Symphony Band, 

undreamed-of changes were on the far-off 

horizon. 1939–40 was all transcriptions: 

Wagner, Weber, Tschaikowsky and such. 

1940–41 was likewise: Bach, Rossini, 

more Wagner, et al. One possible exception: 

Theme and Variations on Pop Goes 

the Weasel by Lucien Cailliet — didn’t he 

play bass clarinet in the Philadelphia Or - 

chestra I do not know if he ever arranged 

this for orchestra; I do remember a big solo 

for the E ♭ in the Jewish Variation. Glim - 

merings of Klezmer Ah, then 1941–42! 

Second concert, four days after Pearl Har - 

bor: Overture for Symphonic Band by none 

other than Burnet Tuthill, a name well 

known to older clarinetists. Later on that 

program, Divertimento for Symphonic 

Band by Daniel Gregory Mason. And in 

the second semester Cowboy Rhapsody by 

Morton Gould and Cimarron by Roy Har - 

ris. So the gates were open, and I began to 

fear that transcriptions would be relegated 

to the Summer Park Band! 

Dr. F. was a dreamer, a crusader and 

pioneer: to develop original compositions 

for band, and to enlarge our audience. We 

troops down in the trenches pretty much 

agreed with those goals, but I was also 

thinking, “Please don’t throw out the transcriptions!” 

Those magnificent sonorities 

of Wagner and Bach, the sparkle of Ros - 

sini and von Suppé, the passion of Tschai - 

kowsky — we thought that was a rich 

diet! Those first-violin parts were just so 

meaty, so juicy, so challenging! Powerful 

motivators indeed! 

To trade that literature for such as the 

Hindemith Symphony for Band did not 

seem like a fair exchange to me, but 

shouldn’t there be room for both We cannot 

afford to be exclusive, and there is 

nothing inherently wrong with a transcription! 

I often wondered what those programs 

would have been if some higher power had 

decreed, “Conductor will choose the first 

half, band will vote on the second half.” 

The irony was that the conductors could 

not solve the problems of the concert band 

— that was up to the composers. 

The fact remains, nevertheless, that Dr. 

F. accomplished a great deal — all that was 

humanly possible. My five years in his 

Symphony Band (E ♭ ) and Phi Mu Al pha 

Little Symphony (B ♭ ) were Golden Years 

and unforgettable. I must mention his 

mem ory; after leaving Rochester our paths 

did not cross, conversation-wise, for a long, 

long time. When they finally did, we were 

talking about the old days and he remarked, 

“I remember your E ♭ clarinet — you had 

put a lot of tape in the tone holes.” After 50 

years! From a conductor who was a percussion 

major! He was correct of course; trying 

to improve the intonation, I had doctored 

the instrument. So, a fond farewell to 

FF! Those initials will always remind me 

of that quote from the New Testament: “I 

have Fought a good Fight, I have Finished 

my course, I have kept the Faith.” 

As I think back, it seems to me that the 

bands did have more fun: due to the strong 

presence of brass players, maybe Those 

lovable extroverts without the inhibitions 

of woodwind and string players. And it is 

not the serious and intense which first rise 

to the surface of memory — it is the lighter 

moments. All through high school, I was 

also in the Oklahoma City University or - 

chestra and band. The conductor, James 

Neilson, was an excellent musician who 

later became Education Director for Le - 

blanc, I believe. He did seem to be a magnet 

for practical jokes. The first, and definitely 

the worst, happened at a summer 

band camp. A few students staged a noisy 

fight, and when Dr. Neilson came running 

down to investigate, someone stationed on 

a cabin roof poured a bucket of water on 

him. NOT funny! Like a pie in the face, 

more humiliating than humorous! 

A sort of inside joke occurred when we 

opened a concert with the Overture to 

Stra della (Flotow). This transcription started 

with about 16 bars of horn quartet, and 

these guys hatched a nefarious plot: “It’s 

printed as horn in F, but at the concert 

we’ll play it as E ♭ horn. If anyone complains, 

we’ll say that we were confused.” 

Well, the piece began — all was smooth 

and lovely; if Dr. Neilson knew what was

going on he did not show it until the rest of 

the band entered in a gut-wrenching key 

change. Then, he was steaming! I must say 

though, by the final chords he had pretty 

well cooled. 

Then there was the 2:30 to 3 o’clock 

radio broadcast. One of the trombonists 

went to Dr. Neilson and said, “I have a 3 

o’clock appointment — not far away, but 

I must be there on the dot.” “OK,” said 

Dr. N., “if you could play the first number, 

I really need you for that. Then you 

could leave, very quietly of course.” Of 

course! Except that while he was blasting 

away, someone tied his back belt loop to 

a stack of chairs, when he got up to tiptoe 

out YIKES! Radio listeners must have 

wondered, “What was that percussion in - 

strument” 

There were no jokes with my high 

school conductor, Oakley Pittman (who 

went on to teach at the University of Kan - 

sas and Southern Methodist University). 

He was a first-class musician with a fiery 

temper. His nemesis was 1st Horn Leonard 

Schwartz, who had a nice tone, but was, 

sad to relate, one of those flub-and-smirk 

horn players. Finally, one day this lit Pitt - 

man’s short fuse, and he exploded, “You 

couldn’t be a horn player! You couldn’t be 

a musician! YOU COULDN’T BE A 

COOK IN — IN A BARBER SHOP! Did 

anyone laugh NO! We were terrified! 


Henry Gulick attended the Eastman 

School School of Music 1939–1942 and 

1946–1948. He studied clarinet with Mont 

Arey, Gustave Langenus and Oakley Pit - 

man and coached with Viktor Polatschek. 

He played in an Army Air Force Band 

(1942–1946), second clarinet in the 

Rochester Philharmonic (1948–1949) and 

first clarinet in the San Antonio Symphony 

(1949–1951). He taught clarinet at Indiana 

University from 1951 until 1986. He is 

now retired and lives in Bloomington, 

Indiana with his wife of 59 years. 





How to Help Your Students Build a Career in the Music Industry 

by Lisa Argiris 

Each year a class of young enthu - 

sias tic students enters the music 

schools across the country. As a 

teacher you share a responsibility for not 

only developing their talents but also for 

guiding them on career paths. How broad 

are these career responsibilities After all 

we probably will only have the students for 

parts of four years. Our challenge as a 

teacher is to take something that the student 

loves — music — and translate that love 

into some kind of assurance of a career. 

It is time to rethink what we need to 

provide our students. We can give them 

more and better options, more hope, and 

assurances so they can succeed and thrive 

in a music career. 

I spent the past 20 years in the music 

industry as a self-employed entrepreneur. I 

employ a number of recent music school 

performance and education graduates in 

my business. I also worked the past ten 

years at DePaul University, teaching students 

the skills needed for a career in mu - 

sic. What I learned from these experiences 

is that most students lack the life skills 

needed to survive a music-related career. 

What are these life skills Here is a list 

of the skill areas that I believe a student 

needs for a successful career: 

Page 74 

1. The Role of Money. Most students live 

on a shoe string budget and often do not 

comprehend that in a few years economic 

realities will set in. While every 

person’s financial needs vary, as teachers 

we need to arm each with a method 

of planning a career coupled with financial 

requirements. These skills help the 

individual understand financial needs of 

life, deal with related financial pressures, 

and hopefully prevent the loss of 

many from the music industry. 

2. Soft and Hard Skills. Students need to 

develop two kinds of skills that I refer 

to as soft and hard skills. Common soft 

skills include speaking and communicating, 

the ability to organize and multi 

task, and such basics as being punctual. 

Hard skills are quite specific and in - 

clude marketing the arts, assembling 

and reading a profit and loss statement, 

and the conscious learning of improving 

the communications process. These 

skills can enhance the development of a 

career in music. 

3. Internships. Gaining valuable work 

experience while a student can be ac - 

complished through internships. Of the 

many resumes of recent music school 

graduates that I reviewed, I can say 

with some certainty that most music 

ma jors have little or no work experience 

in their field prior to graduating. 

Most do not have performance experiences 

outside of school. They also do 

not have private lesson or group teaching 

experiences beyond school requirements. 

To mitigate this career-limiting 

factor, quality internships should be 

available beginning from the sophomore 

year. 

4. Tenacity training. Not only do music 

students need to be taught how to identify 

opportunities in the music business, 

they also need to be taught the value of 

networking, entrepreneurship, and how 

to combine more than one music track 

into a career. Working a menial job in 

order to fund a hope for a music career 

often ends as a dead end. Few other 

professions find this approach an ac - 

cept able route to a career. 

5. Career Planning. This is an area where 

we can teach the skills so that mu sic 

THE CLARINET 

Lisa Argiris 

students can put together both shortand 

long-range career plans. A ca reer 

in mu sic can be greatly en hanced when 

our students have one, two, five and 10 

year career plans. These career plans 

also can help justify internships and 

post-graduation programs for our mu - 

sic students. 

6. Mentoring. Serving as a role model for 

music students is so important to future 

successes in a music career. Bringing in 

successful musicians in a variety of mu - 

sic careers introduce students to those 

who can and should mentor them. We 

readily mentor students playing an in - 

strument or coaching voice. We should 

as readily mentor them so that they can 

achieve their life goals and meet career 

plans for music careers. 

Many of these ideas may seem basic for 

those of us with a successful career. They 

are often difficult concepts for most young 

music students. Many of these ideas are 

not being addressed in core courses. We do 

find some of these areas addressed in 

Music Business programs or Arts Manage - 

ment programs. Unfortunately, these are 

often viewed as “fallback” programs when 

one cannot make it in performance. From a 

cursory survey of performing and education 

educated curricula, it does not appear 

that there is a commitment to the business

or management elements of music. I be - 

lieve this is a serious underestimating of 

the needed skills for students to survive in 

a music career. 

The above list of soft skills needs to be 

married with hard skills in the undergraduate 

music program. The following four 

areas, as a minimum, should be incorporated 

in every music curriculum. 

1. Marketing in the Arts. All students 

should be aware as to how performers, 

music schools, the recording industry, 

and retailers sell their products. This 

course should include advertising, marketing 

plans, and product design. Un - 

der standing marketing leads to an un - 

der standing of the economic reality of 

the music business. 

2. Communications/Speech. Effective 

communications skills leads to confidence 

and self-esteem. Effective communications 

is one of the most underrated 

assets required for a successful 

career in music. 

3. Basic Business Math. A music student 

who can calculate an interest payment, 

amortize a loan, and explain a financial 

statement clearly has skills that are es - 

sential in a successful music career. 

Many music graduates will be in business 

for themselves as performers and 

as teachers. These skills are critical and 

there is no substitute for understanding 

the business side of the music industry. 

4. Entrepreneurship 101. A basic entrepreneurship 

course provides hands-on 

experiences and the understanding of 

what it takes to create a career from no - 

thing. Success in the music business 

often requires producing an income from 

multiple sources such as teaching, performing 

and retail sales. 

If we develop our students fully with 

the soft and hard skills of the music business, 

I believe we greatly improve their 

chances of success. Instead of leaving it to 

luck, we can serve our students well by of - 

fering skills needed for a life built around 

music. A passion and love of music is a 

great starting point, but the foundation of 

these career skills is equally important. It is 

our responsibility as teachers to fully de - 

velop our students and then watch them not 

only survive but thrive in the music field. 

TONY 

SCOTT 

Part 2: 

The Later Years 

by Thomas W. Jacobsen 

“Everyone has died and no one is left 

to nurture it. When the jazz scene became 

a cemetery, I tried to find a way to get 

out.” — Tony Scott [1] 

Tony Scott has always been a bold 

adventurer and experimenter, and 

no one has ever accused him of 

lacking nerve. When he abruptly left the 

States in late 1959 — virtually for good — 

he was embarking upon undoubtedly the 

boldest musical adventure of his life. 

Leaving New York, Scott headed east, 

indeed to the Far East, and landed in Japan 

in early December of 1959. He spent the 

next five years in the Orient touring, performing 

at jazz festivals, clubs and in concert, 

as well as teaching and recording. 

He maintained a busy schedule. His performing 

schedule brought him to a host of 

coun tries in addition to Japan: Indonesia 

(where he played, taught and lectured as an 

“ambassador” of the U.S. State De part - 

ment), Singapore, Malaysia, Thailand 

(where he performed with the jazz-loving 

king’s orchestra), Hong Kong, the Phil ip - 

pines, Taiwan, Okinawa and Vietnam. 

Perhaps the most notable product of 

that period was his Verve recording, Mu - 

sic for Zen Meditation (and Other Joys), 

recorded in Tokyo in February, 1964. He 

collaborated with Japanese musicians 

Shin ichi Yuize (koto/zither) and Hozan 

Yamamoto (shakuhachi/flute) in creating a 

completely improvised musical program. 

Scott has this to say about the music: 

“In the spirit of Zen, this music is 

the result of an ‘enlightenment’ or 

Satori with my fellow men. This 

mu sic was totally improvised with 

no premeditation or rehearsal. All 

the more amazing because in Ja pan - 

ese Classical or Traditional music, 

improvisation is an unused and un - 

heard of element. 

“Shinichi Yuize and I have im - 

provised together many times on my 

visits to Japan … For Hozan Ya ma - 

moto, this was a first. His solo is to 

me the most soulful and complete 

musical piece I have ever heard.” [2] 

This album created quite a stir back in 

the States and has become Scott’s bestselling 

recording (more than a half million 

copies sold). A dramatic departure from 

his previous recorded work, critics called it 

the first New Age album. “If any one al - 

bum could lay claim to have launched the 

New Age music movement, this one can… 

Whether used as an aid to facilitate trance, 

meditation, massage, or reverie, or enjoyed 

simply as beautiful spacious music … 

Music for Zen Meditation is a classic.” [3] 

And I have to admit that I have played it 

perhaps more than any other of my Scott 

albums and still find it a wonderful way to 

relax and unwind. 

Buoyed perhaps by this renewed notoriety, 

Scott decided to return to the States 

early in the following year. That’s where it 

was “really happening,” he thought. He 

was featured at the Newport Jazz Festival 

Tony Scott, c. 1997, courtesy of Tony Scott 


in July 1965, and played a number of gigs 

around New York City. He began a 15- 

month stint at The Dom, a club in the East 

Village in 1966, working with a wide variety 

of good musicians. His interests in the 

integration of jazz with ethnic musics 

found favor with other musicians working 

in New York, and he and several of them 

got together in 1967 for a concert at the 

Metropolitan Museum of Art reflecting 

those interests. 

It was probably later in that same year 

that this early effort in ethnic jazz came to 

fruition on record [4] . The album Tony Scott 

is an interesting collection of straightahead 

jazz and Scott originals — “Ode to 

an Oud,” “Homage to Lord Krishna,” 

“Swara Sulina,” “Nina’s Dance” — in - 

corporating oriental instrumentation (oud, 

dum bek, sitar) in an early attempt at ethnic 

jazz fusion. There are some very nice mo - 

ments here. I particularly liked Scott’s 

Turko-Balkan sounds on “Ode,” and we 

have another version of his classic “Blues 

for Charlie Parker” (premiered on record 

a decade earlier). 

But the restless clarinetist soon became 

disenchanted with the jazz scene in New 

York. As his friend Burt Korall put it, 

“Tony was not about to stay around for a 

funeral.” He had been invited to take part 

in the Berlin Jazz Festival in late 1967, so 

he once again took flight from the States. 

This time, with just one or two very brief 

exceptions, he was gone for good. 

He traveled and performed throughout 

Europe, made his second visit to Africa 

(where he stayed for two years) and re - 

turned to Italy, where he founded the first 

jazz club in Rome. In 1970, Rome became 

his base of operations and has essentially 

remained so ever since. He met pianist 

Romano Mussolini, Benito’s son, and the 

two played together for five years in the 

’70s. Scott became a major force in the 

promotion of jazz in Italy and young Ital - 

ian jazz musicians. 

A recorded example of Tony’s playing 

in the ’70s can be heard on Boomerang, 

recorded in Prague in 1977. This finds him 

in a rather unusual (but not entirely foreign) 

musical context: performing with the 

Czech band known as The Traditional Jazz 

Studio, led by alto saxophonist Pavel Sme - 

ta cek. He first encountered this group at 

the Montreux Festival in 1970, and they 

later invited him back home to do a recording 

together. This is anything but trad jazz 

Page 76 

Tony Scott, c. 1995, courtesy of Paolo 

Pi angiarelli, Philology Records 

in the purest sense, but Tony gives it a 

good go in “Royal Garden Blues.” He’s 

also heard to good advantage on tenor sax, 

in cluding an overdubbed number (“Scott 

Scat”) in which he does his impression of a 

Clark Terry-like vocal. The album concludes 

with yet another version of “Blues 

for Charlie Parker,” with its coda featuring 

Scott’s clarinet probing the stratosphere. 

Scott continued to travel and perform 

throughout Europe from his home base in 

Rome in the ’80s. In all his travels he managed 

to catch the spirit of the local music. 

As his friend Bill Simon has observed, 

“Everywhere his remarkable ear picks up 

the idiomatic language, along with the colloquial 

music.” And this is well exemplified 

on his African Bird, Come Back! 

Mother Africa (To the Spirit of Charlie 

Parker), probably his most exciting album 

of the decade. A product of his years in 

Africa, this collection of Tony’s original 

music is a rhythmic tour de force driven by 

percussion instruments such as marimba, 

congas, bongos, and kalimba. It is modern 

jazz, it is “New Age,” and it reveals Scott 

in a very personal and contemplative tribute 

to his mentor. 

The last decade of the 20th century 

found Tony Scott, in his ’70s, still playing 

and recording with the same passion and 

sensitivity as always. “[I’m] still blowing 

clarinet soft/loud and with much more 

feeling than when I was young,” he writes, 

“very relaxed … Music to heal the wounded 

soul.” [5] And that is clearly exemplified 

in his 1993 The Clarinet Album, recorded 

with a fine group of Italian musicians 

(Giulio Capiozzo Trio). It is a collection of 

seven standard ballads, mostly played at 

deliberate, lightly swinging tempi. There 

THE CLARINET 

are moments of fire, but, for the most part, 

Scott’s playing is more minimalist than in 

his youth. His sound has become more 

breathy and the tone quality less “legit.” 

Nevertheless, I am sure that few of his fans 

would not recognize quickly the clarinet - 

ist’s distinctive playing. 

And the same may pretty much be said 

about his soulful tribute to his friend Billie 

Holiday, recorded two years later. Hom - 

age is a collection of ballads associated 

with Lady Day, many of which she had 

recorded with Scott (on both clarinet and 

piano) in the ’50s. Here Tony, accompanied 

only by piano, explores the lower 

reaches of his instrument in saxophonic 

fashion. Always at home with the blues, 

he brings the disc to a close with a deeply 

moving treatment of “God Bless the Child” 

— played without accompaniment. 

Two years later, Scott wrote that he was 

enjoying playing the tenor saxophone again 

— “playing in the style of Hawk, Prez, Ben 

and myself. Very successful with the public. 

Clarinet never came back, but I stick 

with it as I was born a clarinet.” [6] 

Tony Scott will be 85 on June 17, 2006, 

and his clarinet-playing days are pretty 

much over. He and I have a mutual friend, 

the fine young New Orleans clarinetist 

Evan Christopher, who has maintained a 

close relationship with Scott since they 

first met in Rome a dozen years ago. Tony 

heard him while both were performing at 

the Alpheus Jazz Club and befriended him, 

as he has done with so many promising 

young musicians over the years. 

I asked Christopher how Scott is doing 

these days, “I spoke with Cinzia [Tony’s 

wife] in January,” he said. “Tony was sleep - 

ing. He sleeps a lot. There’s a place for 

him to sleep in every room of their villa. I 

call it a villa because it’s pretty big. He’s 

slowed down quite a bit in the last couple 

years, but I think he thinks he is pretty 

healthy. In general, he’s a bit maudlin. His 

hands and missing teeth frustrate him, but 

there is still a sprite in his eyes when he 

speaks. The clarinet gives him some trouble 

these days, but he still plays. His set-up 

is light, but he can still play loud.” 

Christopher tries to visit Scott every 

summer. “Last summer,” he says, “I was 

there over a week, and I only went into the 

center of Rome one day … mostly, we just 

relax. He likes to listen to my records, but 

he likes listening to his own records more. 

Me too, frankly. He’s very encouraging

even though he thinks jazz and especially 

the clarinet in jazz are dead. He knows the 

clarinet’s a hard way to go in jazz, but as 

long as you go your own way, he’s cool. 

He admires cats that have their own thing 

and get a good sound. He loves [Kenny] 

Da vern, Ben Webster, Yiorgos Man gas… [7] 

He likes that I’m trying to deal with the 

old stuff, the New Orleans sound, and trying 

to do something new at the same time.” 

While Christopher, now 36, would not 

describe his relationship with Scott as one 

of student and teacher, he admits, “I don’t 

know what it is, really. Anyway, for better 

or worse, I’m a son of Tony Scott, and 

I’m proud.” [8] 

Tony Scott has always been something 

of a maverick, and his contributions to 

jazz and world music as a performer, composer, 

arranger and innovator have been 

under-appreciated in my opinion. He will 

be 85 this month, so let us celebrate his 

birthday with the gratitude due him. Hap - 

py birthday, Tony, and may there be many, 

many more. [9] 

END NOTES 

1. 

Cinzia Scott, The Musical Universe of Tony Scott. 

(Of ficial Web site of Tony Scott ) 

2. 

Tony Scott, liner notes from Music for Zen Med - 

itation. 

3. 

Patti Jean Birosik, The New Age Guide Book, quoted 

in Cinzia Scott, supra. 

4. 

The recording on the Verve label to which I refer is 

titled simply Tony Scott, but it seems to have been 

released under other titles on the same label (e.g., 

Homage to Lord Krishna). Likewise, the recording 

date seems to be November 1967, although 

Lord’s Discography suggests (with a question 

mark) the date of December 1969. 

5. 

Personal communication to author, August 18, 

1997. 

6. 

Ibid. 

7. 

Mangas is a well-known Gypsy clarinetist in 

Greece. 

8. 

Scott, incidentally, has two daughters of his own, 

Monica Sciacca and Nina Shaka. “They’re my first 

love,” says Tony. “My two daughters and children 

of the world… Before people grow up and turn bad, 

they’re children.” (Burt Korall, “First Take, Tony 

Scott,” Jazz (1978) 59.) 

9. 

I have made no mention of Scott’s significant 

accomplishments as an artist. Evan Christopher 

notes that “his paintings, ceramics, and photos 

adorn the downstairs [of his home] like a gallery, 

but I don’t think he does too much anymore.” 

10. 

These recordings are in the author’s personal collection 

and are only a fraction of his total output 

during this period. For a more complete listing, 

see Tom Lord, The JAZZ Discography (Version 

6.0), 2005. 

A SELECTION OF 

LATER RECORDINGS 

BY TONY SCOTT [10] 

Music for Zen Meditation, Tony Scott 

with Shinichi Yuize and Hozan Yama - 

mo to, Verve V6-8634. Recorded in Ja - 

pan, February 1964. 

Tony Scott, Tony Scott with John Ber - 

berian, Souren Baronian, Colin Wal - 

cott, Beri Rubenstein, Attila Zoller and 

Milt Hinton, Verve V6-8788. Recorded 

NYC, November 1967. 

Boomerang, Tony Scott and The Tra di - 

tional Jazz Studio, Supraphon 1-15- 

2417 (Czech Republic). Recorded in 

Prague, October 10–14, 1977. 

African Bird, Come Back! Mother Af - 

rica: To the Spirit of Charlie Parker, 

Tony Scott and others, Soul Note SN 

1083. Recorded in England, 1981, and 

Milan, 1984. 

The Clarinet Album, Tony Scott Quartet, 

Philology W 113.2. Recorded in Milan, 

April 13, 1993. 

Homage to Billie Holliday, Body and 

Soul, Tony Scott and Franco D’Andrea, 

Philology W 119.2. Recorded in Milan, 

July 19, 1995. 


Dr. Ian Jewel is Professor of Viola at 

the Royal College of Music, London, and 

Head of Strings at the Purcell School of 

Music — the famous high school for gifted 

young musicians in London. A founding 

member of the internationally famous Ga - 

b rieli String Quartet, Ian is now violist of 

the Zivoni String Quartet. Here he interviews 

Fransisco Gomila, clarinetist and 

clar inet maker who lives in Es Migjorn, 

Menorca, in the Balearic Islands of Spain. 

Ihave been taking my holidays in the 

idyllic island of Menorca for over 25 

years now, and have known and been 

friends with Fransisco Gomila for most of 

that time. He was the village garage owner 

until a few years ago, and cars and music 

brought us together. Quite surprisingly 

Fransisco has been making clarinets for a 

number of years out of local Spanish 

woods, and last year when the Academy of 

St. Martins in the Fields Chamber En sem - 

ble gave a concert in Cuitdedella — one of 

the two larger towns on the island of Me - 

norca — I was able to introduce him to 

Andrew Marriner, principal clarinetist of 

the London Symphony Orchestra. Andrew 

played Fransisco’s clarinet, which was 

made from Wastre (wild olive wood), for 

about half an hour after the concert in 

which he had played the Mozart Clarinet 

Quintet. Andrew comments about the clarinet 

as follows, “I was completely knocked 

out by this clarinet made from wild olive 

wood. It was extraordinary. Apart from 

being an instrument of great beauty, it was 

so good I would happily play it at any of 

my concerts.” 

Page 78 

Francisco Gomila and Ian Jewel 

An Interview with 

Fransisco Gomila 

* * * * * 

IJ: Fransisco, when did you first become 

aware of the clarinet 

FG: At the age of 12 when I heard it 

played in the Es Migjorn town band. I 

liked the sound at once and tried to find 

a teacher. There was none around, but a 

shoemaker who played the instrument 

helped me begin. 

IJ: What instrument did you have 

FG: In Ferreries, a nearby village, I bought 

a clarinet with 13 keys — possibly a 

Buffet — for 45 pesetas (about eight 

dollars!). 

IJ: Did you take further instruction in 

music 

FG: Yes, I took lessons in solfège from the 

conductor of the village band. He 

would not let me join the band until I 

had done so. 

IJ: Did you play on the 13-key instrument 

in the band 

FG: Yes, until several years later I bought 

a new 17-key Boehm-system clarinet 

for four thousand pesetas (approximately 

60 dollars). I also took a course 

in clar inet playing at the Conservatory 

in Ma hon, the other of the two larger 

towns. 

IJ: What was the band like at that time 

FG: In 1978 to 1980 it was not good. 

There were only two clarinets, and 

when my colleague directed we had to 

use a violinist to play the second part in 

the Easter Procession! 

IJ: How did things improve 

FG: I started to take a few pupils myself, 

and gradually four or five of the pupils 

became good enough to join our band. 

IJ: I know from personal experience how 

good the band is now and that it is in 

de mand all over the island. Tell me, how 

big has it now become 

FG: Yes, it has become very popular and 

successful with 40 members including 

THE CLARINET 

by Ian Jewel 

10 clarinetists. We have two clarinet 

teach ers now in Es Migjorn and the 

bandmaster insists that all members 

have a one-hour lesson on their in - 

strument as well as piano and solfège 

each week. 

IJ: Why did you decide to make your own 

clarinets 

FG: I felt that all clarinets sounded very 

much the same and I wanted to hear 

the sound quality produced by other 

kinds of woods, particularly native Spanish 

woods. 

IJ: What kind of woods have you tried 

to date 

FG: Naranco, which was too weak. Cer - 

eza, a red fruit tree, which was also un - 

successful, and Granado, which broke 

too easily and into which saliva entered 

too readily. Then I thought why not 

try Wastre wild olive wood. This olive 

wood is compact and shiny and therefore 

saliva would run well and not 

penetrate. This was most successful, 

and it was this Wastre instrument 

which An drew Marriner played and 

liked so much. I have also now used 

Pernam buco wood, which is not a 

local wood, but being a hard wood was 

also very successful. 

IJ: How does the sound vary 

FG: Well Ian, I think you would agree 

with me that the clarinet made from 

Wastre is finer and better focused ton - 

ally than that made from pernambuco 

wood, which is somewhat broader and 

deeper in quality. 

IJ: As a retired car mechanic and garage 

owner you clearly enjoyed working with 

your hands. How did your car repairing 

career help you in the making of these 

fine clarinets 

FG: Well, I make or adapt all the machinery 

myself for these instruments, and 

clearly my time in the garage has helped 

to refine my machining skills. At first I 

practiced by restoring old Buffet clar-

tremely hard and the oboes have a very 

strong sound for carrying well in the 

open air. This should produce a most 

powerful clarinet! 

IJ: Fransisco, I thank you for your time. 

I’m sure the readers of this article will 

be most interested to learn about your 

exciting clarinets. 

* * * * * 

Fransisco Gomila may be contacted via 

Dr. Ian Jewel, Head of Strings at The Pur - 

cell School of Music, e-mail: . 

[With thanks to Spencer Pitfield. Ed.] 

Francisco Gomila with his clarinet 

inets and checking all their measurements. 

This period of practice was critical 

as perfection of intonation through 

exact understanding of the particularly 

awkward measurements for the clarinet 

is very important if you are to produce a 

high quality instrument. 

Visit the 

I N T E R N AT I O N A L 

C L A R I N E T 

A S S O C I AT I O N 



IJ: Have you any other woods in mind 

FG: Yes, I have a trunk of Gingol wood, 

which is used to make oboes for the 

Sardanas outside the cathedral in Bar - 

celona on Sundays. This wood is ex - 

A selection of Gomila clarinets 


MUSIC REVIEWS 

by Himie Voxman 

Johannes Brahms. Two Songs, Op. 91, 

arranged by Chris Allen, for voice, clarinet 

and piano (No. 1 for A, No. 2 for 

B ♭ ). Emerson Edition (U.S. agent Theo - 

dore Presser), 2003. 

These two songs are the only solo songs 

composed by Brahms with an instrumental 

accompaniment. The first is entitled 

Ges till te Sehnsucht, poem by Friedrich 

Rüc k ert, the second, Geistiches Wiegen - 

lied, poem by Emanuel Geibel, after Lope 

de Vega. 

The arranger writes, “Brahms composed 

his two songs ‘Gestillte Sehnsucht’ 

(Longing at Rest) and ‘Geistliches Wie - 

genlied’ (Cradle Song of the Virgin) for 

alto voice, viola and piano, op. 91, 1884. It 

would have been shortly after this time that 

he met and heard the great German clarinetist 

Richard Mühlfeld for whom he was 

to compose the trio for clarinet, ‘cello and 

piano, op. 114, the quintet for clarinet and 

strings, op. 115 and the two sonatas for 

clarinet and piano, op. 120. Brahms made 

his own transcription of the clarinet son - 

atas for viola and piano despite dedicating 

them ‘for Mühlfeld and piano.’ To this end 

I have taken the liberty of transcribing the 

viola part of these pieces for clarinet, making 

only the most necessary alterations to 

register and double-stopping (where missing 

notes are incorporated into the piano 

line) in order to give a genuinely idiomatic 

alternative to the original.” 

Most of the necessary changes from the 

viola part are in pitch. The clarinet version 

is frequently an octave higher than the 

viola one. I doubt that singers will be troubled 

by this or the different sonority of the 

clarinet. Both songs offer the clarinetist a 

beautiful accompaniment. The second song 

was a musical gift to Brahms’ close friend 

Joseph Joachim and wife, Amilie, for the 

christening of their first son, Johannes. It 

in corporates original melody with the 

Chris tmas carol, Josef, lieber Josef mein. 

Ira-Paul Schwarz. Continuum — A Set of 

Six Duos for Woodwinds and Piano. 

Jeanné, 2002, $10.00 each duo. 

The duets (Baroque Reflections, Clas - 

sical souvenir, Romantic Memento, Im - 

Page 80 

pres sions of a Cloud, A Modal Mood, 

Twelve-Tone Tune) are printed separately. 

The solo parts may be played by two flutes 

or two oboes or two clarinets or any combinations 

thereof. There is a short but quite 

informative paragraph for each duo pertaining 

to its history and style. The technical 

demands are quite modest. Most students 

will be at ease with the key signatures 

and the occasional florid passages. 

Ira-Paul Schwarz was born in Sheldon, 

IA, received his early higher education at 

Morningside College, was for a time a 

clarinetist, saxophonist and arranger with 

the U.S. Navy Band in Washington, D.C., 

and later held positions in a number of 

schools and colleges. In 1961 he received a 

Ph.D. in composition from the University 

of Iowa, while director of orchestras in the 

Iowa City public schools. In 1970 he was 

appointed Chair of the Music Department, 

Coordinator of Fine Arts and composer-in- 

Residence. Postdoctoral studies in music 

and music education were undertaken at 

the Eastman School of Music and Harvard 

University. Since retirement from full-time 

teaching, he and his British wife, Mary, 

now live in the North Sea coastal village of 

Mundesley, U.K., where he participates in 

the area’s musical activities. 

CONCERT REVIEW 

by Luis Rossi 

New Clarinet Concerto Has 

Indiana University Premiere 

The Indiana University Jacobs School 

of Music is an important center for 

landmark presentations. In the 

heart of an appealing campus, the school 

bustles with the activities of both the outstanding 

artist faculty and a large and ac - 

complished student body from all over the 

THE CLARINET 

U.S.A. and abroad. During the academic 

year, opera, ballet, faculty and student re - 

citals, and performances from five large 

or chestras, lend a magical (and sometimes 

feverish!) excitement to the atmosphere. 

So it’s not surprising that, in December 

2005, while I was replacing Professor Eli 

Eban, I had the opportunity to attend an 

important musical event. I’m referring to 

none other than the concert premiere of a 

clarinet concerto by David Dzubay. Mr. 

Dzubay, recently honored with the Utah 

Arts Festival Commission for the Utah 

Symphony, is on the composition faculty 

at I.U. I knew of the concerto’s existence 

because, coincidentally, I recently had the 

opportunity to hear a studio recording 

(innova 634) of Dzubay’s latest orchestral 

output. It is very well played there by 

Tasha Warren. 

Scored for large orchestra, this new 

con certo is called American Midlife. Worldrenowned 

Canadian clarinetist James 

Camp bell was the soloist, with the composer 

on the podium. 

Written in a lyrical, lavishly orches - 

trated, 20-century style, the work enchanted 

listeners from the very first note. Its 

three movements are styled Present, Past 

and Future. In the words of the composer, 

they reflect a variety of moods, including 

anger and frustration, (but ending on a more 

positive and optimistic note). Ameri can 

Midlife affords many opportunities for ex - 

pressive cantabile in well-structured phrases, 

explores the instrument’s capabilities 

with a judicious use of multiphonics, and 

features plenty of fast, technically challenging 

passages for the virtuoso within us 

all. The soloist is often doubled by instruments 

from the orchestra, creating a pleasing 

“floating” sensation. Dzubay’s piece is 

great and a welcome and significant contribution 

to the clarinet repertoire. 

James Campbell, who has been teaching 

in Bloomington since 1988, maintains 

a varied international concert schedule. At 

this performance, he lived up to his reputation, 

captivating everyone with a truly ar - 

tistic interpretation, always supported by 

his solid technique, which made the difficult 

passages sound easy. 

With the help of excellent conducting 

by Mr. Dzubay, the I. U. Philharmonic Or - 

ches tra provided a polished accompaniment, 

with both an attractive orchestral 

sound and the precision required for this

piece. I happened to notice a few microphones 

on stage, which hopefully means a 

future CD will be available for everyone to 

enjoy this outstanding concert. 

CD REVIEWS 

by Gene Kavadlo 

Alla Gitana. André Moisan, clarinet; 

Louise-Andrée Baril, piano. Béla Ko - 

vács: Hommage à Manuel de Falla; 

Béla Bartók: Roumanian Folk Dances; 

Paul Dukas: Alla Gitana; Bohuslav 

Martinu: Sonatina; Ralph Vaughan Wil - 

liams: Six Studies in English Folk-Song; 

Zhang Wu: Variations on a Northern 

Chinese Folksong; Carlos Guastavino: 

Tonada y cueca; Simeon Bellison (arr.): 

Four Hebraic Melodies; Leó Weiner: 

Peregi Verbunk; Joseph Horovitz: Two 

Majorcan Pieces; Leó Weiner: Két 

tétel; Arthur Benjamin: Jamaican Rum - 

ba. ATMA CLASSIQUE ACD22187. 

Total time 74:07. (distributed by SRI: 

) 

Canadian clarinetist André Moisan has 

recorded an album of clarinet music that 

takes its inspiration from folk traditions. 

Collaborating with pianist Louise-Andrée 

Baril, these fine musicians have produced 

a happy and musically satisfying disc. 

Mr. Moisan’s clarinet studies began 

with his father, clarinetist with the Mon - 

treal Symphony, and continued with Rob - 

ert Crawley, Larry Combs and finally, Karl 

Leister. Since 1977 he has performed regularly 

as soloist and chamber music performer 

in Canada and other countries. 

Additionally, he co-founded the Canadian 

wind ensemble Les Vents de Montréal, 

and founded one of Canada’s rare clarinet 

choirs, the Chour des Clarinettes de l’Uni - 

versité de Montréal. He currently teaches 

at the University of Montreal, Laval Uni - 

ver sity, the Montreal Conservatory of 

Mu sic, and during summers, the Oxford 

Arts Centre. 

If folk music as defined by Bartók is the 

music of the class of population the least 

affected by city culture, most of the music 

on this album will fit that definition. Clar - 

inetist/composer Béla Kovács pays tribute 

to Spanish composer Manuel de Falla, who 

was certainly influenced by the folk music 

of his native Spain. Kovács’ Hommage à 

Manuel de Falla is the only unaccompanied 

piece on the album. Mr. Moisan’s 

playing is clean and sensitive, and introduces 

us to the quality of playing we can 

expect on the rest of the album. 

Many are familiar with the orchestral 

version of Bartók’s Roumanian Folk Dan - 

ces. This version, for clarinet and piano, is 

based on the 1918 violin and piano ar - 

range ment by Z. Szekely. Mr. Moisan 

deftly varies his colors to suit the mood of 

each of the six pieces. 

Paul Dukas’ Alla Gitana, composed in 

1909, was originally a vocalise for voice 

and piano. The clarinet arrangement dates 

from 1926, and Mr. Moisan beautifully 

captures the vocal quality of the original, 

especially with his fine altissimo control at 

the end. 

Although folk music exerted a strong 

influence on the musical language of Czech 

composer Bohuslav Martinu ° , that influence 

is hard to hear once we get beyond the 

play ful, folk-like theme of the first movement 

of his Sonatina. The third movement 

is performed with a perky dance quality; 

the rather bland ending is more the fault of 

the composer than the performer. 

This listener found it interesting that 

several of the selections on the CD could 

be characterized as vocalises, though not 

specifically labeled so. Perhaps that is why 

Mr. Moisan takes the title of his CD from 

the only selection that is originally a vo - 

calise, Dukas’ Alla Gitana. The first five 

of Vaughan Williams’ Six Studies in Eng - 

lish Folk-Song have a very tuneful, vocal - 

ise quality, although quite similar in character. 

The contrasting sixth piece provides 

lovely closure. 

Zhang Wu’s Variations on a Northern 

Chi nese Folksong is rather charming, with 

a lovely clarinet/piano dialogue in the 

middle section. Another vocalise-like 

selection is the Argentinean/Chilean love 

song “Ton ada,” the first movement of 

Carlo Guastavino’s Tonada e cueca. Mr. 

Moisan nicely captures the dance quality 

of the second movement, “cueca.” 

Simeon Bellison is a name familiar to 

most clarinetists. His Four Hebraic Mel - 

odies, using tunes transcribed by G. Fit el - 

berg, J. Weinberg, and B. Levenson, is a 

nod to Klezmer style. Mr. Moisan ac - 

knowledges the style with a few well 

placed glissandi in the “Canzonetta” 

(Weinberg), but the performance is, by and 

large, rather straight. A few more Klezmer 

ornaments in each of the four pieces would 

not be out of place. 

Like his countryman Bartók, Leó Wei - 

ner was interested in Hungary’s folklore. 

His Peregi Verbunk (Invitation Dance), 

begins with a tuneful folk melody and concludes 

with a virtuosic cadenza, brilliantly 

executed by Mr. Moisan. Weiner’s Két 

tétel, like several other selections on the 

CD, consists of two contrasting movements. 

The first, “Búsuló Juhász,” is a 

melodic shepherd song; “Csürdöngölö,” is 

a virtuoso Hungarian barn dance. 

Like Két tétel, the Horovitz selection is 

a work with two contrasting movements, 

but, as the title suggests, it is inspired by 

Majorcan music. The first movement, 

“Paguera” has the flavor of a Spanish folk 

song, and the second movement, “Val - 

demosa,” is performed with the flair of a 

lively Spanish dance. 

Mr. Moisan concludes his pleasant program 

with Arthur Benjamin’s popular 

Jamaican Rumba, one of the few selections 

on this CD which is not difficult to 

spell or pronounce. If you want to hear 

excellent performances of some wellknown 

repertoire, and other repertoire that 

deserves to be better known, this CD is 

gladly recommended. 

by Thomas Josenhans 

The English Collection. Nigel Hinson, 

clarinet; Keith Puddy, clarinet; Mal - 

colm Martineau, piano. Gerald Finzi: 

Five Bagatelles, Op. 23; Charles Vil - 

liers Stanford: Sonata, Op. 129; Rich - 

ard Rodney Bennett: Crosstalk; Nigel 

Hinson: La Campanella di Povo; John 

McCabe: Three Pieces, Op. 26; Arnold 

Bax: Sonata. VELOCE CLASSICS. To - 

tal time 69:45. (Available on Web sites: 

, and ) 


Following up on his collaborative 

recording of French music entitled The 

French Collection, Nigel Hinson again 

showcases his various talents with the CD 

The English Collection. Hinson assumes 

many roles in his association with this CD: 

composer, performer, producer, and protégé, 

and assumes all roles with equal success. 

Hinson has re-enlisted the talents of 

fellow clarinetist and former teacher, Keith 

Puddy, and pianist Malcolm Martineau. 

The result is a delightful CD of an eclectic 

mix of music by British composers. 

Hinson is founder of the Veloce En - 

semble and Veloce Records, an active performer, 

and currently on the faculty of the 

Royal Academy of Music. He and Mar tin - 

eau lead off the CD with an authoritative 

reading of Finzi’s Five Bagatelles. These 

familiar character studies are performed 

with sensitivity and care. The pair adapts 

well to the many moods of the piece, performing 

with great simplicity in the “Ca - 

rol,” lilting lyricism in the “Forlana,” and 

playful virtuosity in the “Finale.” 

Puddy is the next to be joined by Mar - 

tin eau in Stanford’s Clarinet Sonata. Pud - 

dy is an internationally respected pedagogue 

and performer, and currently teaches 

at the Royal Academy of Music. Though 

Stanford’s Sonata is not as much a staple 

of clarinet recitals and recordings as the 

Brahms sonatas, it carries similar weight 

and deserves more frequent attention as a 

part of the Romantic repertoire. The Son - 

ata, written in 1911, was dedicated to clarinetist 

Oscar W. Street, a well-known amateur, 

and Charles Draper, a notable clarinetist 

of the era. The program notes relate 

an interesting fact about the clarinet used 

by Puddy for this performance: it is an 

original Hawkes & Son made by Martel- 

Frére Paris between 1900 and 1914. The 

instrument was selected for a colleague 

Page 82 

by Draper, and has since been used in mul - 

tiple recordings, including one by Reg - 

inald Kell of the Brahms Clarinet Quintet 

in the 1930s. Puddy and Martineau give 

an as sured and convincing performance 

of this work. 

Crosstalk, a duo by Sir Richard Rodney 

Bennett, is one of the highlights of this collection. 

The piece was originally written 

for two bassett horns for Thea King and 

Stephen Trier in 1966, although this re - 

cording presents a later transcription for 

two clarinets. The four short movements, 

none longer than two minutes, are delightful 

miniatures which expertly exploit the 

idiosyncratic characteristics of the clarinet. 

Hinson and Puddy are well matched, and 

from the first notes of the Con grazia first 

movement, the listener knows he is in for a 

rollicking treat. The clarinets chase one 

another, overlapping and weaving deftly 

through the contrapuntal texture. The second 

movement, Con umore, though only 

half a minute long, is packed with energy. 

Virtuosic passages arpeggiated rapidly 

through the clarinet’s range create a rollicking, 

day-at-the-circus atmosphere. The 

Con tristezza third movement provides a 

welcome contrast in mood to the first two 

movements, and is reminiscent of the slow 

movement of Poulenc’s Sonata for Two 

Clarinets. The movement’s placid, serene 

atmosphere highlights the beautiful blend 

of Hinson’s and Puddy’s playing. Lines 

intertwine and overlap as the clarinets ex - 

change roles and the two musicians weave 

a luscious tapestry of sound. In the final 

movement Hinson and Puddy again display 

their virtuosic technique as they romp 

through the Con stancio’s intricate passages. 

Throughout the work the performan - 

ces are superb. Each player complements 

the other in tone and musicality, seeming 

to urge one another to ever more beautiful 

phrases and more daring virtuosity. 

Hinson assumes the role of composer 

and soloist in La Campanella di Povo. 

The single movement, marked “free,” has 

a meditative and improvised quality. Si - 

len ces interrupt the sparse texture helping 

to create an atmosphere of austerity and 

spaciousness. From the first solo entrance 

of the clarinet, Hinson’s performance is 

ex pres sive and poignant. He displays a 

fine sense of control and color throughout 

the work. 

THE CLARINET 

John McCabe’s Three Pieces was written 

for and first performed by Keith Puddy 

in 1964, and he performs them again on 

this CD. The work is an emotional journey, 

beginning with a somber “Nocturne,” 

traveling through a dancing “Im prov i sa - 

tion,” and ending with a more optimistic 

“Fantasy.” The austere opening of the first 

movement gradually gives way to a more 

aggressive and angry middle section. The 

movement’s initially lyrical primary mo - 

tive becomes ever more strident as the 

clar inet explores the limits of its range, 

ar ticulation and dynamic ability. Follow - 

ing an explosive climax, the energy of the 

move ment dissipates, and the lyrical mo - 

tive briefly reappears, and then evaporates 

in a nostalgic look back toward the beginning 

of the movement. The second movement, 

aptly named “Improvisation — Con 

moto,” makes use of jazzy rhythms and a 

syncopated clarinet line. The movement 

evolves into a seemingly demonic rumba 

with the clarinet and piano battling for 

supremacy before reconciling into a rhythmic 

unison for the movement’s final bars. 

The last movement, “Fantasy — Lento,” 

begins tranquilly, and like the opening 

“Nocturne,” with a sparse texture. The 

clarinet melody seems again to be “improvised” 

as it works its way upward and then 

returns to a more relaxed state. Although 

the middle section becomes agitated with 

angular syncopations and fast moving 

triplet passages, the movement seems more 

optimistic than the previous two. Puddy 

and Martineau adapt well to the various 

demands of the music and give a very convincing 

performance. 

The final piece featured on this Eng - 

lish disc is the Sonata by Sir Arnold Bax. 

Knighted in 1937, Bax wrote a wide variety 

of music and usually remained true to 

the essence of the Romantic idiom. Bax’s 

poetic lyricism is a refreshing change from 

the restless and relentless energy of Mc - 

Cabe’s Three Pieces. While Hinson’s in - 

ter pretation may become a bit aggressive 

during louder sections of the piece, his lyr - 

i cal playing is of the highest caliber. The 

first movement’s second theme is love ly 

and reflective, and Hinson gracefully re - 

lates all of Bax’s many rhapsodic and flow - 

ing melodies. 

The English Collection, featuring 

works aptly chosen and ably performed by 

Hinson, Puddy and Martineau, is particu-

larly notable for its assured and energetic 

performances. Though all the CD’s works 

are by English composers, the variety of 

styles makes for a fine anthology. Par - 

ticularly notable are the works of Bennett, 

Hinson and McCabe, but all of the pieces 

contribute toward creating a very enjoyable 

recording. After listening to the disc, 

this reviewer was left looking forward to 

future collaborations of these accomplished 

artists. 

by Steven Cohen 

The Artistry of Ralph McLane. 

Clarinetist Ralph McLane in a compilation 

of solo passages from 35 orchestral 

works recorded by the Philadelphia 

Orchestra from 1943–1951, compiled 

and edited by Larry Guy. Excerpts 

from: Beethoven, Berg, Brahms, De - 

bussy, Dvorák, Franck, Gershwin, 

Grieg, Kodály, Liszt, McDonald, Me - 

notti, Miaskovsky, Prokofiev, Respighi, 

Rimsky-Korsakov, Schubert, J. Strauss, 

R. Strauss, Tchaikovsky, Weber and 

Wieniawski. BOSTON RECORDS 

BR1067CD. Total time 76:01. (available 

at major retail outlets and from 

Web site: ) 

As I have gotten older it has become 

clearer to me that the history and traditions 

of our great instrument, along with many 

musical traditions, are slowly slipping 

away. I really think it is a great shame and 

we do a tremendous disservice to our own 

students if we don’t share with them the 

traditions and great players of the past. We 

no longer have access to the old recordings 

so readily and many of the great performances 

are not known to the younger generations 

of clarinetists coming up. For - 

tunately for us, Larry Guy has once again 

come to the rescue. After his wonderful 

Daniel Bonade project, Guy now presents 

The Artistry of Ralph McLane. McLane 

was the famous principal clarinetist with the 

Philadelphia Orchestra from 1943–1951. 

We also know him as having primarily 

been a student of Gaston Hamelin as well 

as having taken some lessons with Daniel 

Bonade. He was, in addition, teacher to 

some of the most famous artists of the clarinet 

such as Harold Wright, Stanley Hasty, 

Ignatius Gennusa, Kalmen Opperman and 

George Silfies. 

The repertoire represented here in this 

CD covers an extremely wide array of 

musical styles and shows us what I believe 

is a fairly complete range of the beauty of 

McLane’s tone, versatility, facility and musical 

artistry, as well as his own growth as 

a player. While it is not specifically laid 

out on the CD cover, the recordings do 

cover the dates of McLane’s entire tenure 

in the Philadelphia Orchestra. We also find 

out that he played with the CBS Sym pho ny 

and the Wallenstein Sinfonietta. Eugene 

Ormandy is the conductor for most of the 

excerpts, and the wind section consists primarily 

of William Kincaid, Marcel Tab u - 

teau, Sol Schoenbach and Mason Jones. 

The excerpts from Der Rosenkavalier, ar - 

ranged by Antal Dorati, feature the oboe 

playing of John DeLancie. Whatever concerns 

I may have about some of the details 

of these performances (not included in the 

information that accompanies the CD), are 

dwarfed by the value of what we hear. 

Much of this value comes as a result of re - 

vitalizing some older recordings that needed 

a lot of work. According to the notes 

that Guy includes, Ward Marston, a wellknown 

recording restoration engineer, did 

an outstanding job cleaning up the sound 

of the old records. What we hear seems 

likely to be a fairly close representation of 

McLane’s sound and playing style. Of 

course, you can be the judge. 

This is a CD welcome and valuable to 

all clarinetists, as well as all musicians. It 

is an historical document of a style of clarinet 

playing that is no longer common, by 

an artist who was never common to begin 

with. It shows us McLane’s clear and beau - 

tiful tone that rings with great purity. Guy 

tells us that McLane was a double lip player 

and it is interesting to note how beautifully 

he uses it and explains the benefits of 


using this technique that was once much 

more widely used than it currently is. This 

also is included in the notes of the CD 

along with many other interesting tidbits 

about McLane. As an interesting aside, 

Guy interviewed Ralph McLane’s son Ar - 

mand over lunch, for information about 

the great clarinetist. This McLane lives in 

Ba den-Baden, Germany and is a retired 

operatic baritone. He provided the cover 

photo for the CD as well as a number of 

photos and anecdotes about the life of 

Ralph McLane. 

It would be impossible to talk about all 

the wonderful solos included in this collection. 

There are some standouts, and it is 

interesting to see what repertoire has been 

included. It represents much of what we 

consider “mainstream” orchestral rep - 

ertoire today, but it also includes some 

works that are not so well known and some 

that have gone a bit out of fashion. In this 

collection we hear some of the important 

Beethoven symphonies and their solo 

excerpts, including the 6th, 7th, and 9th. 

These show McLane’s impeccable articulation 

and utter control of dynamic contrasts. 

Also included are the important 

solos from the Brahms 3rd and 4th. We 

hear McLane’s rapid and stunning staccato 

represented in the Debussy Nocturnes 

(“Fetes”) as well as the control necessary 

to play Rimsky-Korsakov’s Scheherazade. 

Wonderful lyricism and legato are evident 

everywhere and are well represented in 

The Pines of Rome, Schubert’s Unfinished 

Symphony, Strauss’ Death and Trans fig ur - 

a tion and some wonderful excerpts from 

Der Rosenkavalier, arranged by both Eu - 

gene Ormandy and Antal Dorati. A special 

treat is included in such works as the Rhap - 

sody in Blue and the always spectacular 

Liszt Hungarian Rhapsodies #1 and #2. 

Page 84 

It would be utterly presumptuous of me 

to truly comment on the performing ar - 

tistry of this great master of the instrument 

we love. His was a unique and compelling 

kind of playing that speaks for itself. We 

owe Larry Guy and the various people 

who helped him put this CD together a 

debt of immense gratitude as he keeps 

alive a tradition of playing. We can all learn 

from the expertise displayed by McLane 

and pass on these treasures of style and in - 

terpretation to the next generation. 

by Christopher Ayer 

Carl Maria von Weber. Alessandro 

Carbonare, clarinetist and conductor; 

Haydn Sinfonie-Orchester Bozen. We - 

ber: Concerto No. 1, Op. 73 and Con - 

certo No. 2, Op. 74, Concertino, Op. 

26, and Sextet. ARTS MUSIC 47697-2. 

Total time 57:04. (label Web site: 

; artist Web site: 

) 

What a treat! Those who attended the 

2005 ClarinetFest® in Tama, Japan, will 

remember the wonderful playing of Al es - 

sandro Carbonare! He is a performer of the 

highest caliber and this disc exemplifies all 

of those qualities which make him such a 

superb clarinetist: wonderful control of this 

tone, fantastic dexterity in technical passages, 

and clean articulation. Carbonare 

has been the principal clarinetist with the 

Orchestra di Santa Cecilia in Rome since 

2003. For 15 years he lived in France where 

he was the principal clarinetist of the Or - 

chestre National de France. He has won 

prizes in international competitions in 

Gen eva, Prague, Toulon, Duino, Munich 

and Paris. This recording was issued in 

THE CLARINET 

2004 and has received rave reviews both in 

the United States and abroad. 

Opening with the Concertino, Car bon - 

are takes his time in the “adagio” sections, 

emphasizing the dramatic aspect of the 

music without wallowing in it. The theme 

and subsequent variations are quite fast, 

with an extremely exciting finish to the 

piece. In all cases, the technique is flawless. 

The Concerto in F Minor includes the 

Baermann cadenza in the first movement, 

while he puts an exclamation mark on the 

last note of the piece by holding out the high 

G as the orchestra finishes. The Concerto 

in E ♭ , is extremely well done as the large 

leaps are negotiated with ease. The slow 

movement of this concerto is sublime as 

Carbonare takes his time and paints the 

melancholy mood with different colors of 

sound. The Sextet in B ♭ for clarinets, bassoons 

and horns is an “Adagio” and “Ron - 

do” of five minutes that is a modest example 

of Harmoniemusik from the time period. 

Written in 1808, it may have been the 

result of a work started a year or two ear - 

lier for 10 winds, which was apparently 

lost. Despite the fact that it is very charming, 

it does seem to be a strange way to 

round off a collection of Weber’s concerted 

works for clarinet and orchestra. 

One of the interesting things to this re - 

viewer is the approach that Carbonare 

takes to these works. While the liner notes 

extol the Romantic qualities of Weber’s 

music, Carbonare and the Haydn Sinfonie- 

Orchester Bozen seem to be much more 

grounded in the Classical roots of Weber’s 

compositions. This is in no way meant as a 

disparaging comment. Indeed, while many 

performers will emphasize the Romantic 

side of these works with blatantly virtuosic 

playing filled with rubato, Carbonare’s ap - 

proach seems to always be refined and 

con trolled no matter the difficulty of the

passage he is negotiating. The rubato is 

always careful and tasteful as he allows the 

music to speak for itself without attempting 

to overstate its inherent drama. That 

being said, Carbonare’s performances here 

are certainly not boring. His virtuosity is 

never in question as he completes all of the 

technical difficulties with ease at tempos as 

fast as one will hear. His romp through the 

“Polacca” of the Second Concerto is exciting 

and does not disappoint. It is truly im - 

pressive clarinet playing. Other examples 

of notable playing are the openings of the 

Concertino and the First Concerto. For 

these perfect B ♭ s he does not attempt to 

“sneak” into the pitch and then provide a 

melodramatic crescendo into the following 

measures; the notes simply happen beautifully 

at exactly the right moment and perfectly 

in tune. 

The recording quality here is very good 

as one might expect from this “Audio - 

phile” series recording. The performances 

were recorded in an auditorium, but the 

sounds are always very clear. If anything, 

the clarinet seems a little further away as if 

the listener is sitting in the hall enjoying 

the performance. The balance between the 

orchestra and soloist is excellent. The Sex - 

tet, however, seems to have been recorded 

differently, and at times the horns and bassoons 

do tend to become just a little “mud - 

dy” in the thick textures. 

This is an excellent disc full of superb 

performances, although the somewhat less 

than helpful liner notes do not indicate the 

personnel of the Sextet. Furthermore, the 

notes give no information regarding Ales - 

sandro Carbonare and the Haydn Sinfonie- 

Orchester Bozen. Sparse notes notwith - 

stand ing, this is a great disc which all clarinetists 

will want to add to their collections. 

by Howard Klug 

War Concerto — Music for Clarinet 

and Band. Eddy Vanoosthuyse, clari - 

net; Jan Wijenberg, bass clarinet; Royal 

Symphonic Band of the Belgian Guides 

conducted by Dirk Brossé. Dirk Brossé: 

War Concerto; Carl Wittrock: Sym - 

phon ic Sketches for Clarinet and Bass 

Clarinet; Dirk Brossé: Nearly Beloved; 

Tryggvi Baldvinsson: Concerto for 

Clarinet and Band. GOBELIN RE - 

CORDS O4.001. Total time 77:28. (distributed 

by Gobelin Music Publications; 

Web site: ) 

The impetus for this album started in 

1999 when Eddy Vanoosthuyse premiered 

Dirk Brossé’s War Concerto at Clarinet - 

Fest® ’99 in Oostende, Belgium. Originally 

designed for orchestral accompaniment 

(as played by the Flemish Radio Orchestra 

at the premiere), the 23-minute War Con - 

certo was later arranged for wind band by 

Dirk Brossé and Wim Belaen. The title of 

that work was then used to headline this 

CD of new pieces for clarinet and concert 

band. The other pieces came about through 

collaborations with friends (bass clari - 

netist Jan Wijenberg, composers Carl Wit - 

trock, Tryggvi Baldvinsson and Dirk Bros - 

sé) and an Icelandic clarinet student (Sveinhildur 

Torfadottir). 

Dirk Brossé’s War Concerto began 

with the deeply moving television pictures 

of the war in Kosovo and their effect on 

the composer. In this highly programmatic 

work, an orphaned young boy (the clari - 

net) is pitted against his world of the Bal - 

kans (the orchestra). The large, multi-sectional 

work progresses through the various 

cultures of that geographical area, first ex - 

pressing their unique languages and societies 

and, increasingly, the growing alienation, 

conflict and war. Throughout the 

work, the naive questioning of the young 

boy, “Why do things have to be this way” 

is periodically revisited. 

Brossé’s deft touch as an orchestrator 

brings a rich palette of colors to bear on his 

music, convincingly expressing the complete 

range of human emotions. At times 

evoking the epic Hollywood movies of 

the 20th century, Brossé’s background as 

a sought-after composer of film scores 

brings an unapologetic confidence and 

craftsmanship to his writing. The wind 

band is no mere accompanying vehicle 

here, and the clarinet has to often fight for 

supremacy over the thickness of the texture. 

While the War Concerto starts, and 

ends, with a similar mood of serenity, the 

work feels more like a series of vignettes 

with connecting materials … much like a 

movie. In fact, listening to it with the programmatic 

structure in mind, it is easy to 

conjure up images to suit the varied moods 

and sections of the piece. 

Carl Wittrock’s Symphonic Sketches for 

Clarinet and Bass Clarinet (2004) gives 

both clarinet and bass clarinet soloists much 

liberty to stretch their wings, as soloists 

and duettists, in equal measure. The ac - 

companiment generally takes a more subsidiary 

role than in the Brossé, providing 

the necessary heft when re quired, but al - 

lowing the soloists to be heard in even the 

softest passages. With melancholy and 

slightly Kurt Weill-ish inner movements, 

the outer Allegros carry the day with their 

unbridled optimism. Clarinet and bass clarinet 

are superbly matched in sound, tuning 

and musical character. Symphonic Sketches 

has a length of nearly 19 minutes. 

Nearly Beloved by Dirk Brossé was 

or iginally for cello and chamber orchestra, 

here arranged for clarinet. With the 

usual Brossé touch of ensemble richness, 

the clarinet soars over the top, often 

seem ing like the lead woodwind, only 

becoming a true soloist in the very quiet 

sections — a lovely mood piece of seven+ 

minutes duration. 

Tryggvi Baldvinsson’s Concerto for 

Clarinet and Band (2002) was written for 

Sveinhildur Torfadottir (a student of Van - 

oosthuyse’s) on the occasion of her final 

exam from the Royal College of Music in 

Gent. A major, three-part work of nearly 

half an hour duration, this conservative 

contemporary piece uses traditional intervallic 

organizational devices, yet very 

skillfully builds them into that all-important 

left-to-right drive that makes music 

interesting. A tremendous technical challenge 

for the soloist, Vanoosthuyse dispatches 

the altissimo writing with seeming 

ease, all the while playing with an attractive 

lyricism. A nicely unified and exciting 

piece, the Concerto won the Icelandic 

Music Prize as the best new composition 

of the year 2003. 

Eddy Vanoosthuyse’s 20-year career as 

principal clarinet of the Flemish Radio 

Orchestra, and his appointments as professor 

of clarinet at the two Royal Con serv a - 

tories in Leuven and Gent, have made him 

“Mr. Clarinet” in Belgium. Fortunately for 


the young clarinet students in that country, 

their futures are in good hands. Van oos - 

thuyse dispatches all of the challenging 

solo parts in these commissioned works 

with technical ease and engaging musicality. 

Like a finely tuned Mercedes, he plays 

the difficult bits without seeming to break 

a sweat, and the unapologetic melodies of 

this collection of pieces will touch your 

heart with their beauty and emotional commitment. 

Under the taut and sensitive ba - 

ton of composer/conductor Dirk Brossé, 

the Royal Symphonic Band of the Belgian 

Guides plays throughout this CD at a level 

that rivals the best bands in the world … 

excellent ensemble and tuning, a warm 

homogenous tone, and committed playing. 

A highly recommended disc. 

by Randy Salman 

3 Takes on Triphony. Darryl Harper, 

clarinet; Matthew Parrish, bass; Butch 

Reed, drums. Harper/Parrish/Reed: 

The Snake, Triphony, Dig In, Jig, and 

Something Inside Me; Darryl Harper: 

Sarabande, Courante, and Eve; Andy 

Jaffe: Cariocas and Doxology; Stevie 

Wonder: Jesus, Children of America; 

Phillip Braham: Limehouse Blues. HiP - 

NOTIC RECORDS HR-10004. Total 

time 78:22. (distributed by Synergy 

Distribution; label Web site: ; artists Web site: ) 

Darryl Harper earned a bachelor’s de - 

gree in Music from Amherst College, and 

master’s degree in Jazz Studies from Rut - 

gers University. He is currently pursuing a 

Doctor of Musical Arts degree at the New 

England Conservatory in Boston. The Onus 

group was formed in the 1990s as a quintet. 

This is their first effort as a trio. Many 

Back Issues 

of The Clarinet 

Back-issue order forms for The Clar inet 

may now be downloaded from the I.C.A. 

Web site: . Copies may 

also be re quested by con tacting: 

James Gillespie 

College of Music 

University of North Texas 

P.O. Box 311367 

Denton, TX 76203-1367 

E-mail: 

Page 86 

musicians prefer to work with chordal in - 

strumentation in a quintet format. This provides 

an opportunity for the group to rely 

on each other to share solo duties, and of - 

fer a wider variety of textures and instrumental 

combinations. Working in a quartet 

format places more responsibility on the 

horn player. As mentioned in the liner 

notes, the challenge is heightened here 

with the pared down format of clarinet, 

bass and partial drum kit. The compositions 

and improvisation in this particular 

trio must rely on changing styles, tempos, 

meters, forms and textures in order to 

instill the necessary variety. It is apparent 

group improvisation is a hallmark of the 

Onus by the fact that five of the compo - 

sitions are credited to the entire group as 

a whole, Harper’s individual approach 

seems to be influenced by a wide variety 

of clarinetists, including Don Byron, those 

associated with Duke Ellington (possibly 

Barney Bigard and Jimmy Hamilton), and 

Pee Wee Russell among others. Mr. Har - 

per’s compositional influences tend toward 

the eclectic, and include such wide ranging 

sources as J.S. Bach (Sarabande and Cour - 

an te were inspired by his solo cello pie ces), 

Charles Mingus, Ornette Coleman, John 

Coltrane, numerous contemporary composers 

and various world music genres. 

How well the ensemble succeeds de - 

pends on your perspective. I am very im - 

pressed with bassist Matthew Parrish and 

drummer Butch Reed. Butch uses a wide 

variety of percussion sounds to add interesting 

colors in addition to providing solid 

time throughout. Bassist Parrish uses a 

number of techniques, including arco, piz - 

zicato, strumming and double stops in or - 

der to produce variety throughout. The 

Snake, a tune in 6, starts off with an interesting 

feel on wood block and bass before 

the drums enter. Darryl has an original 

THE CLARINET 

concept and sound, with interesting ideas, 

but his improvisations seem to have difficulty 

developing into anything substantial. 

The same can be said of many of the compositions. 

They all have some nice mo - 

ments but tend to sound somewhat similar, 

often played at a slow to medium tempo. 

Many rely on a single mode with little harmonic 

relief. In Sarabande, bass and percussion 

begin with a free duo, and are later 

joined by Harper. 

There are some very interesting ideas, 

but the clarinet improvisation is a bit 

lengthy for my ears. The bass solo that in - 

troduces Stevie Wonder’s Jesus, Children 

of America once again promises great 

things, including an infectious groove; 

however it never seems to develop. The 

one standard, Limehouse Blues, starts at a 

burning tempo established by bass and 

drums. This pace is maintained as clarinet 

enters to play the melody. Unfortunately, 

the tempo drops off significantly during 

the solo. Triphony has some very interesting 

sounds and textures, and as one of the 

shorter tunes on the CD, it is more effective 

than many of the other longer pieces. 

My favorite composition was Dig In, which 

features a bowed bass solo and energetic 

playing from the group as a whole. The 

drum groove on this one was especially ef - 

fective. Cariocas is a beautiful tune penned 

by Andy Jaffe, with a great bass solo, but at 

just under nine minutes, seems to go on far 

too long. The sprightly Doxology de livers 

some much needed energy. In many ways 

this tune could be compared to a bebop 

composition. The catchy melody doubled 

by clarinet and bass adds to its interest. In 

Jig we welcome another fast-paced tempo 

that heats up the offerings. One difficulty is 

that by this point the varied textures have 

become somewhat commonplace. 

Although the musicians play well and 

do their best to keep things interesting, it is 

a stretch to listen for nearly 80 continuous 

minutes. I’m certain one would find a live 

performance much more interesting and 

inspiring. In the case of a horn soloist in a 

similar trio setting, great recordings by 

Sonny Rollins, Ornette Coleman and Lee 

Konitz to name a few, set the standard. It is 

difficult to live up to those masters. In the 

case of this recording, an occasional tune 

with more attention to set chord changes 

would have gone a long way to add another 

necessary dimension.

STUDENT… 

Elizabeth Aleksander, clarinet, D.M.A. 

Recital, University of Nebraska–Lincoln, 

February 16, 2006. Concerto in A Major, 

K. 622, Mozart; Der Hirt auf dem Felsen, 

Op. 129, Schubert; Four Preludes on 

Playthings of the Wind, McAllister; Duo 

Concertant, Op. 351, Milhaud 

Anthony Allgeier, clarinet, D.M.A. Re - 

cital, University of North Texas, March 20, 

2006. Sonata for Clarinet and Piano, Har - 

vey; Three Songs for Soprano Voice and 

Clarinet, Jacob; Ballade for Clarinet and 

Piano, Op. 8, Weiner; Offertory: Totus in 

corde langueo, Op. 46, D. 136, Schubert; 

Divertimento for Clarinet and Piano, Wiblé 

Annah Aquino-Chavarria, clarinet, Mas - 

ter’s Recital, University of North Texas, 

March 8, 2006. Introduction et rondo, Op. 

72, Widor; Four German Songs, Spohr; 

Hillandale Waltzes, Babin; Cinco Bocetos 

for Clarinet Solo, Sierra; Three Preludes, 

Gershwin (Cohn) 

Dallas Neustel, clarinet, Master’s Re ci - 

tal, University of Nebraska–Lincoln, Feb - 

ruary 8, 2006. Introduction ed Allegro 

Appassionato, Op. 256, Reinecke; Con - 

certo per Clarinetto Solo, Bucchi; Sonate 

in B für Klarinette und Klavier, Hindemith; 

Au Claire de la lune: variationes acrobatiques 

et symphoniques, Jeanjean 

Jessica Vansteenburg, clarinet, D.M.A. 

Recital, University of Nebraska–Lincoln, 

January 28, 2006. Concerto in E ♭ Major, 

Op. 1, No. 1, Crusell; Three Etudes on 

Themes of Gershwin, Harvey; Albumleaf, 

Reger; Time Pieces, Muczynski 

Meaghan Walsh, clarinet, Senior Re - 

cital, University of North Texas, March 24, 

2006. Fantaise-Ballet, Mazellier; A Set for 

Clarinet, Martino; Benny Gig (Eight Duos 

for B ♭ clarinet and Double Bass), Gould; 

Sonatina for Clarinet and Piano, Horovitz 

FACULTY AND PROFESSIONAL… 

Nancy Angerstein, clarinet, Houston 

Community College, January 29, 2006. 

Abîme des oiseau (from Quatour pour la 

fin du temps), Messiaen; Première Rhap - 

sody, Debussy; Trio, Op. 114, Brahms 

Bruce Creditor, clarinet, Unitarian 

Church of Sharon, Sharon, MA, February 

5, 2006. Sonata, Bernstein; Hidden Re - 

flections for clarinet and piano (premiere), 

Navok; Larghetto (from Quintet, K. 581), 

Mozart; Sonata for Clarinet and Piano, 

Poulenc; Sonata for Clarinet and Piano in 

E ♭ , Op. 120, No. 2, Brahms 

Michael Thrasher, clarinet, North Da - 

kota State University, January 31, 2006. 

Concerto, Op. 57, Nielsen; Capriccio, 

Sutermeister; Sonata in F Minor, Op. 120, 

No. 1, Brahms. 

* * * * * 

Programs intended for publication in 

The Clarinet should be sent to James Gil - 

lespie, P.O. Box 311367, College of Mu - 

sic, University of North Texas, Denton, 

TX 76203-1367. To ensure accurate program 

information, please send a printed 

program and a summary of pertinent data 

(names of performers and composers, site, 

date and titles of works, etc.) in the format 

above. For student recitals, only solo de - 

gree recital programs (junior, senior, master’s, 

doctoral) will be listed. 

Page 88 

THE CLARINET

Greetings from Utah! As I write my 

first “President’s Message,” I 

have been reflecting on ending up 

as the president of an organization I have 

been a member of since my student days, 

and whose conferences I have attended 

for years. When nominated two years ago, 

I thought, hey, I like the magazine and I 

have always had a great time at the conferences, 

so why not It never occurred to 

me that I would be in this position, and I 

am still amazed that fate has added this 

route to my musical journey through life. I 

am honored and more than a little daunted 

by this, but with the help of some fantastic 

colleagues on the board and staff, and all 

of our members, I think we can do some 

great things. 

I first want to say a very heartfelt thank 

you to the board and staff I have to work 

with. I could not wish for a more talented 

and dedicated group who take the needs of 

the I.C.A. so much to heart. With this 

group I see good things in our future. Let 

me tell you about some of the transitions 

and solutions we are working on. 

In September 2005, So Rhee began as 

the I.C.A.’s first full-time Executive Direc - 

tor. It was a great decision for the I.C.A., 

one that we on the board see the results of 

every day, and which you the members will 

see more and more as this organization 

grows and moves into the future. The Board 

and I give our most heartfelt thanks to So 

Rhee for working so tirelessly to move us 

forward and to improve all aspects of the 

day-to-day operations of the I.C.A. 

Just a few of the important areas she 

and the board have been working on are 

Web site development, membership coordination, 

and conference production. On 

the Web site front, joining or renewing 

your membership, and registering for the 

ClarinetFest® can now all be done online. 

There is now a link from the main page to 

ClarinetFest® Web site, listing artists, presentations, 

schedules and general information. 

This site is updated as the conference 

gets closer, giving you the most current 

Page 90 

information to help you plan your time. 

We are working on getting competition 

registration online in time for the Van - 

couver ClarinetFest® competitions. Also 

coming is a page on I.C.A. history that will 

make a great addition to our site. 

Membership is an area that we know 

has been problematic recently, but which 

we are diligently working on solutions and 

improvements. Online renewals, as mentioned 

above, are just the beginning. In 

addition to this we are moving to a system 

of quarterly renewals. Previously, your 

membership would run from the month 

you joined. Moving everyone to quarterly 

renewal corresponds to the magazine’s 

publication and makes the logistics of 

managing renewals much more succinct. 

This will allow us to send e-mail renewal 

reminders to everyone two and then one 

month before your renewal date. Having 

four rather than 12 renewal periods will 

help our executive director manage the re - 

newals more efficiently. Current members 

may have their expiration dates moved forward 

one or two months in order to get 

everyone’s expirations on the quarter system. 

So some of you will be receiving a 

bonus extension of your membership during 

the transition. We feel this new system 

will greatly enhance our ability to keep our 

membership informed and up to date. 

We are now offering a discount to those 

who renew for a two-year period instead of 

just one year at a time. I hope the small 

monetary incentive and the convenience of 

not worrying about your membership for 

two years will encourage many of you to 

take advantage of this. My membership re - 

newed in April and I was glad to make the 

two-year commitment. 

Finally, the Atlanta ClarinetFest® is ra - 

pidly approaching. We are incredibly fortunate 

to have D. Ray McClellan and Joe 

Eller as our ClarinetFest® 2006 Artistic 

Team. I am reluctant to say this lest I discourage 

future ClarinetFest® hosts, but be - 

fore joining the board, I had no idea of the 

time and energy involved in producing a 

THE CLARINET 

ClarinetFest®. Joe and D. Ray have been 

tireless in dealing with the myriad issues 

involved in making the conference work. 

They have spent hours working with So to 

make your conference experience a truly 

memorable one. As you will see elsewhere 

in this magazine and on the Web site, they 

have put together a fantastic schedule of 

concerts and presentations. I am particularly 

pleased about the tribute concerts for 

Guy Deplus, Stanley Hasty, Mitchell Lurie 

and David Weber. What a wonderful idea 

to honor these giants of the clarinet community. 

Though sadly David Weber is no 

longer with us, his spirit lives on through 

his work with the many clarinetists and 

other musicians who were fortunate to 

have met and worked with him. I hope you 

all will come to Atlanta and be a part of 

this unique and wonderful event. 

Being a volunteer organization, our volunteers 

and members make us tick. With 

that in mind, there are a few things I want 

to ask of you to help the I.C.A. be the best 

it can be. First, keep us updated with your 

current e-mail and snail-mail addresses. 

An up-to-date and accurate database will 

help us to keep you in the loop and keep 

the magazines coming to the right places. 

Second, come to the ClarinetFest® if you 

can, or make plans to come to Vancouver. 

If you come, please say hi to me and the 

other board members and make sure to 

introduce yourself to So Rhee. Third, let us 

know how you feel and what you think 

about the I.C.A. We take comments from 

our membership very much to heart, and 

though we can’t please all of the people all 

of the time, we are trying. We have had 

some great suggestions about conferences 

and membership that have already resulted 

in some of the changes discussed above. E- 

mail me, So, or any member of the board. 

Third, consider submitting an article to The 

Clarinet. Jim Gillespie is always looking 

for good copy. Finally, encourage your stu - 

dents to become members, to attend the 

con ferences, and to enter our competitions. 

A little nudge from their teacher can 

get them involved and open their eyes and 

ears to the wonderful things our magazine 

and conferences have to offer. I always 

leave each ClarinetFest® inspired and energized 

by the concerts I have heard and the 

people whom I have met. It is an experience 

like no other, and one I hope you all 

can be a part of. Be in touch, be involved, 

and be well.

Page 91

Volume 33 Number 3 June 2006 - International Clarinet Association

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