inet winter, 1985 volume 12, no. 2 international clarinet

inet

WINTER, 1985 Volume 12, No. 2

International Clarinet Society

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Pi pin' hot

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Pete Fountain plays it hot. His clarinet...Leblanc.

Experience the heat of a pipin' hot Pete Fountain. Now offered in four Leblanc artist and three Vito student models. For details, write to G. Leblanc Corporation, 7019 Thirtieth Avenue, Kenosha, Wisconsin 53141.

© G. Leblanc Corporation 1985. Ail rights reserved.

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WINTER, 1985 Volume 12, No. 2

page 5

page 31

page 24

Musical chairs — Part II 2

Pierce's potpourri 3 Jerry D. Pierce

International Clarinet Society 1985 Conference 4

ICS Conference to feature variety 6 ICS Conference competition information 8 An interview with Colin Bradbury 10

James Gillespie

The clarinetists of the B.B.C. Symphony Orchestra 12

British clarinet concertos 14 Ewart L. Willey

The Czech scene 18 Bohumir Koukal Debussy's works for clarinet — Part II 19

Dennis Nygren Announcements 24

ICS members' activities 26 Clarinet talk 27

Arthur Henry Christmann

Classified advertising 27 Concerts & Recitals 28 Swiss kaleidoscope 30

Brigitte Frick Beethoven's chamber music involving clarinet 34

Ricky Duhaime Claranalysis 40

Lee Gibson Care and repair 41

Robert Schmidt An Ode to Cylindrical Bores 44 Record rumbles 45

Jim Sauers Record reviews:

Alan E. Stanek 46 John W. Kuehn 46 Keith M. Lemmons 46 Linda Pierce 47 William E. Grim 48

Jerry Pierce 48 Lyle Barkhymer 49

Book reviews: John R. Snyder 50 Dan Leeson 50

New music reviews: Fred Ormand 54 Ewart Willey 55

New publications for future review 55 Tom Foolery 56 Index of advertisers 56

ABOUT THE COVER: The clarinetists of the B.B.C. Symphony Orchestra. See story on page 12.

The Clarinet — 1

Commercial Advertising/General Advertising Rate International

Clarinet

Society

President, Jerry D. Pierce, 4611 Mounds Road, Anderson, Indiana 46013. Phone (317) 643-2914.

Past President, Lee Gibson, 1226 Kendolph, Denton, Texas 76201. Vice-President, David Etheridge, School of Music, University of Okla¬

homa, Norman, Oklahoma 73069. Secretary, Norman Heim, 7402 Wells Blvd., Hyattsville, Maryland 20783 Treasurer, James Schoepflin, Dept. of Music, Washington State Universi¬

ty, Pullman, Washington 99164. Phone (509) 335-3961. Editor, James Gillespie, School of Music, North Texas State University,

Denton, Texas 76203. Publisher, Betty Brocket!, 1774 Avalon, Idaho Falls, Idaho 83402. Phone

(208) 522-0908. Advertising Manager, Henry Duckham, Conservatory of Music, Oberlin

College, Oberlin, Ohio 44074. Editorial Associates, Lee Gibson (address above); Himie Voxman, 821 N.

Linn, Iowa City, Iowa 52240. Editorial Staff, John Mohler (Editor of Reviews), School of Music, Uni¬

versity of Michigan, Ann Arbor, Michigan 48109; James Sauers (Associate for Reviews of Recordings), 1234 Summit Street, New Haven, Indiana 46774; Arthur H. Christmann, 4554 Henry Hudson Parkway, New York, New York 10471; James Schoepflin (address above); Henry Gulick, School of Music, Indiana University, Blooming- ton, Indiana 47405; John Anderson, School of Music, University of Minnesota, Minneapolis, Minnesota 55455; Robert Schmidt, School of Music, Ithaca College, Ithaca, New York 14850; Brigitte Frick, Brachmattstr. 16, CH-4144 Arlesheim, Switzerland; Bohumi'r Koukal, Praskova 7, 772 00 Olomouc, Czechoslovakia.

I.C.S. Research Center, Norman Heim, Coordinator, Music Depart¬ ment, University of Maryland, College Park, Maryland 20742.

Regional Chairmen: Northeastern: Norman Heim. Address above. Southeast: F. Gerard Errante, 4116 Gosnold Ave., Norfolk, Virginia

23508. North Central: Himie Voxman, 821 N. Linn, Iowa City, Iowa 52240. South Central: Wilbur Moreland, Department of Music, University of

Southern Mississippi, Hattiesburg, Mississippi 39401. Northwest: William McColl, 1354 E. Interlaken Blvd., Seattle, Washing¬

ton 98102. Phone (206) 322-7788. Southwest: Lee Gibson (address above). Western Canada: Ronald Goddard, School of Music, Brandon University,

Brandon, Manitoba, Canada R7A 6A9. Eastern Canada: Leo J. Chak, 4 Forest Laneway #2308, Willowdale, On¬

tario, Canada M2N 2X8. Pacific: William Dominik, Conservatory of Music, University of the Pa¬

cific, Stockton, California 95211. International Liaison, Sherrick S. Hiscock II, P.O. Box 1212, Elizabeth

City, North Carolina 27907. National Chairmen: Argentina: Mariano Frogioni, Juramento 5186, 1431 p. 1 "B", Buenos

Aires, Argentina. Australia: Neville Thomas, 36 Bishop Ave., Randwick, Sydney, Australia

2031. Belgium: Marcel Ancion, Avenue Brachet 21, 1020 Brussels, Belgium. Chile: Luis Rossi, Los Leones 709, dep. 36, Providencia, Santiago, Chile. Czechoslovakia: Milan Kostohryz, U Smaltovny 22/A. Praha 7, Czecho¬

slovakia. England: Pamela Weston, 1 Rockland Rd., London SW15 2LN, England. France: Guy Deplus, 37 Square St. Charles, Paris, France 75012. Italy: Prof. Michele Incenzo, Viale Tito Livio, 176, Rome, Italy. Phone

349-3653. People's Republic of China: Wang Zhi-Jian, Tianjin Conservatory of

Music, Tianjin, People's Republic of China. Spain: Jose Thomas-Perez, General Romero Basart, 131 6.e Dcha.,

Madrid, Spain. Phone 705 4167. Singapore: Dr. Ong Eng San, 21D Grange Heights, Singapore 0923,

Republic of Singapore. Sweden: Kjell-Inge Stevensson, Mistelvagen 10, 5-197 00 BRO. Sweden. Uruguay: Horst Prentki, Varo 1078, Montevideo, Uruguay. ICS Correspondent for Germany: Allan Ware, Krumme Strasse 26,

D-4930 Detmold, West Germany. © Copyright 1985, INTERNATIONAL CLARINET SOCIETY

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

Designed and printed by: FALLS PRINTING CO. — Idaho Falls, Idaho USA 2 — The Clarinet

1 Issue 4 Issues 1 Issue 4 Issues Color Color B&W B&W

Outside Back Cover . . . $660 $595 N/A N/A Inside Front Cover .... $570 $515 $330 $300 Inside Back Cover $570 $515 $330 $300 Full Page .. $475 $435 $265 $240 Half Page N/A N/A $145 $130 One-fourth Page N/A N/A $90 $80 One Column-inch N/A N/A $35 $35 Pre-printed 4-page sigs — $250. Specifications furnished on request.

A 10% discount on the second entry will apply for two or more con¬ secutive entries of the same advertisement. Circulation Information:

(a) Rates based on 2000 copies. (b) Character of circulation: Clarinet teachers, students, and profes¬

sionals; college music departments and libraries. (c) International circulation.

Deadlines for copy: Sept. 15, Dec. 10, March 10, May 10. Back issues: single copies $6.00; order from Betty Brockett, 1774 Avalon, Idaho Falls, ID 83402.

Camera-ready commercial advertisements should be sent directly to: Henry Duckham, Advertising Manager

Conservatory of Music Oberlin College

Oberlin, Ohio 44074

Musical chairs — Part II

LAROY BORCHERT has been named to the faculty at New Mexico State University where he will be teaching clar¬ inet, saxophone, and oboe. In addition, he will also be teach¬ ing theory and coaching woodwind ensembles. He earned his B.M. from Concordia College in Moorhead, MN where he studied clarinet with David Townsend and saxophone with Gail Hall. After two years as the instrumental director in the Greenbush, MN Public Schools, he entered Baylor University where he studied with Richard Shanley, graduat¬ ing with an M.M. in 1983 and went on to pursue his D.M. at Florida State University studying with Fred Ormand. He has performed as clarinetist with the American Wind Sym¬ phony Orchestra, Waco Symphony Orchestra, San Angelo Symphony Orchestra, Lake Charles Symphony Orchestra, and, most recently, with the Blossom Music Festival.

Pierce's potpourri

By Jerry D. Pierce, President, I. C. S.

It was a real pleasure this past summer to talk to some of the most knowledgeable clarinetists about repertoire. Although I never started out with plans for a hobby of col¬ lecting clarinet music, through the years my search for the "not so common" li¬ terature uncovered pieces that I personally think are of worth. Rosario Mazzeo once commented to me "I decid¬ ed long ago that I couldn't own all of the music written for clarinet." It really is im¬ possible to keep track of our ever-expanding repertoire. Having evaluated many clarinet pieces for the annual "re¬ view" issue of The Instrumentalist this year, it is heartening to see new editions of excellent works which make them once again readily available. One such piece is the Florent Schmitt Sextour, Op. 120 for six clarinets (E-flat, two B-flats, basset horn [or E-flat alto], bass, and contra bass) now pub¬ lished by Billaudot with both score and parts. One will pro¬ bably need both for a successful performance of this com¬ plex, eleven-minute, four-movement work. I vaguely recall having seen that this piece was once recorded. (Jim Sauers and Mike Bryant can probably deal this information right off the top of their heads, complete with record number — but I can't be sure even about the existence of a recording.) I do remember reading about it in a book describing instruments of the orchestra. While the Mozart Clarinet Concerto was the example for the A clarinet, the Schmitt was the example used for the clarinet family. Fine company indeed. I thought I was so lucky to find a copy of the work in Europe this summer. Little did I know how readily available it would be.

The second issue of Jean-Marie Paul's Clarinette Magazine (all in French of course) has arrived. While it may lack the cosmetics of some specialized journals, what a gold mine of information is contained in its forty-two pages — a listing of the works of Klose, new music published in France, a listing of the clarinetists with all of the professional orchestras in France, etc. Even with my meager French I've found much information of value in this magazine. For more information contact Jean-Marie Paul, Clarinette Magazine, 47, rue de I'Yser, 67000 Strasbourg, France. Incidently, Jean-Marie Paul and Michele Hawecker were married on the 21st of September, 1984, and we extend to them our best wishes for a life time of happiness together.

Selmer is introducing a new clarinet in Europe. This mod¬ el is called the "Recital." By the time you read this a few models will be in the hands of players in this country. Ron Monsen of the University of Kentucky has scheduled some concerts using this new instrument. Selmer's departure from standard wall thickness of the wood to the Recital's new thick wood will make our "thin" clarinets look like the outside size of the tubes used in metal clarinets by comparison.

Several weeks ago Mike Bryant in England sent me a cas¬ sette of the Franz Schmidt Quintet in A (1938) for piano, clari¬ net, violin, viola, and cello. Was it mere coincidence that a few days later Eric Simon sent me some rare music that had been in Paul Wittgenstein's collection? Wittgenstein was a one-armed pianist who had lost his right arm as a World War I hero. He might have well been forgotten today except

that, as an excellent player, this handicap after the war did not stop his career, and, in fact, his name lives on because of some of the works that were written for him — such as the Ravel Concerto for the Left Hand — and, in this case, the Schmidt. I might not have known all of these facts, but I do listen to Paul Harvey's "The Rest of the Story" on the radio when I can. (Paul's son, who writes the program, was once a concert pianist himself.) Eric Simon played the Quintet of Schmidt many times with Wittgenstein. I must confess that I didn't know of Schmidt's music until all of these events took place this fall. I now find that Schmidt's influence in music might have been the path German composers would have followed had there not been Schoenberg. The two Quintets that include clarinet (one quintet in A, the other in B-flat) are excellent chamber music and deserve to be better known than they are. Now that I know of their existence, the search is on to find the music which was once published by Wein¬ berger.

Dan Dolan, M.D., from Asheville, North Carolina has brought to my attention the fact that Vandoren is no longer making the "German Facing" reed (that fit "French type" mouthpieces). Their German reed is now labeled "German Cut" or "German Model." These reeds are approximately 12mm at the tip and appear to us to be somewhat akin to an E-flat clarinet reed. While Karl Leister has been using this model of clarinet reed since 1981 (before then he used reeds made by Gerhard Steuer); he also, of course, uses a German style mouthpiece. Vandoren has retired the "German Fac¬ ing" label (which was a "healthy" French reed) and does not plan to make that style of cut now. It is my understand¬ ing that they will not exchange unopened boxes of the small¬ er German reed for their current French model either. So, "buyer beware!" Old boxes marked "German Facing" are the only ones that will fit a normal French type mouthpiece.

John Newhill (25, Amberley Road, Sale, Cheshire M33 10P, England) has made a cassette tape available of several basset-horn works which have not been recorded before. These are live performances and contain works by Rummel, Backofen, Roth, Weber, Schneider, and Krej£i. John is the basset-hornist on this cassette and interested persons may contact him.

Several members of the ICS have written to me asking about the Artie Shaw album that I mentioned in my column last year (Volume 11, No. 1). It is now available and titled Artie Shaw, A Legacy. To order this four-record set when you aren't a member of the "Book-of-the-Month-Club" (and I'm not), send a check for $29.70 ($27.95 for the album, plus $1.75 shipping and handling) to Book-of-the-Month Rec¬ ords, Camp Hill, PA 17011. The jazz selections are great, but the Berezowsky Concerto is awesome!

If the remarks I hear from time to time about the Interna¬ tional Clarinet Society are true, then we have to be the best kept secret in the music world. After twelve years of exis¬ tence you would think that every clarinetist who was serious about his or her instrument would know of us, but I'm afraid such is not the case. What this really means is that we as members are not doing our job of sharing what we know with others. Each of you is the best advertisement for YOUR Society. Our membership should be increasing much faster than it is. Our low dues now offer one of the best bargins of any professional society, and the only way to keep the dues low is to increase the membership. It is my hope that in the new year each of you will enlighten your friends and fellow players about the I.C.S. The officers will do all they can to help, but we can't do it all — it's up to you.

Jerry D. Pierce

The Clarinet — 3


1985 CONFERENCE

Oberlin College Conservatory of Music

Oberlin, Ohio

July 22-26, 1985

4 — The Clarinet

Robert Marcellus

Robert Marcellus, the eminent clarinetist

and teacher, will be a featured participating

artist. He will conduct masterclasses open to

all registrants and will work with a limited

number of students. For more information

on masterclass participation write the Con¬

ference.

Participating artists as of February 1, 1985:

Walter Boeykens, principal clarinet, Philharmonic Orchestra of the B.R.T., Brussels

Larry Combs, principal clarinet, Chicago Symphony Orchestra

J. Lawrie Bloom, clarinet and bass clarinet, Chicago Symphony Orchestra

Russell Dagon, principal clarinet, Milwaukee Symphony Orchestra

James Gillespie, professor of music, North Texas State University

William McColl, professor of clarinet, University of Washington

David Ross, professor of clarinet, University of Texas at El Paso

Lawrence McDonald, professor of clarinet, Oberlin College Conservatory of Music

Hans Rudolf Stalder, principal clarinet, Tonhalle Orchestra, Zurich

Jean Kopperud, free-lance clarinetist Uwharrie Clarinet-Percussion Duo Yokohama Clarinet Ensemble

Special events: • World Premieres for clarinet. Works by William Lath¬

am, Edward Miller, William Sydeman, Paul Martin Polombo, Conrad Cummings, Ralph Turek, and Enrique Raxach

ICS Concerts by Conference registrants Jazz Performances by Henry Duckham and Fred Starr Lectures and Performances on chalumeaux, antique clarinets, and basset horns

Exhibitors: Instrument and accessory manufacturers, mouthpiece makers and publishers.

Facilities: The Oberlin College Conservatory of Music has excellent concert halls and abundant practice rooms and rehearsal space. Housing and dining facilities are moderately priced and conveniently located to the Conservatory.

Oberlin: 45 minutes from downtown Cleveland. 30 minutes from Cleveland's Hopkins Airport. Limousine and college trans¬ portation will be available.

Costs: Pre-registration (prior to June 15, 1985) $135 Registration (after June 15) $150

Husband and wife $175 Student group rate (three or more) $ 98

Dining and housing for the Conference period:: (Includes five nights lodging (Sunday through Thursday) and meals.) Single occupancy per person $115.00 Double occupancy per person $140.00

For more information see write-up on page 6 of this issue. To register, write:

The International Clarinet Society 1985 Conference Oberlin College Conservatory of Music

Oberlin, OH 44074 (216) 775_SM3

The Clarinet — 5

ICS Conference to feature variety

The 1985 International Clarinet Society Conference, which will be held at the Oberlin College Conservatory of Music in Oberlin, Ohio from July 22 through July 26, will feature an unusually wide variety of events. The schedule, as it currently stands, will include the following individuals and activities:

MASTERCLASSES will be presented by the eminent clarinetist and teacher Robert Marcellus. It is difficult to ov¬ erestimate the impact Mr. Marcellus has had on the clarinet world, both through his performing career as principal clari¬ netist of the Cleveland Orchestra for twenty years, and as a teacher who has guided scores of leading performers and teachers. The 1985 ICS Conference is particularly pleased that Mr. Marcellus will be present.

RECITALS will be presented by participating artists Walter Boeykens (principal clarinetist, Philharmonic Or¬ chestra of the B.R.T., Brussels), Hans Rudolf Stalder (prin¬ cipal clarinet, Tonhalle Orchestra, Zurich), J. Lawrie Bloom (clarinetist and bass clarinetist, Chicago Symphony Orches¬ tra), Larry Combs (principal clarinetist, Chicago Symphony Orchestra), Russell Dagon (principal clarinetist, Milwaukee Symphony), James Gillespie (Professor of Music, North Texas State University), and Lawrence McDonald (Profes¬ sor of Clarinet, Oberlin College Conservatory of Music). Concerts by other artists and groups include those by the Uwharrie Clarinet-Percussion Duo, the Yokohama Clarinet Ensemble, and Jean Kopperud, in a performance of Stock- hausen's Harlekin.

HISTORY: In the area of the history of the instrument, William McColl (Professor of Clarinet, University of Wash¬ ington), will discuss and perform on historical and modern bassethorns, including his own replica of an 18th century Griessling and Schlott instrument. (Only those who have witnessed a presentation by Professor McColl can anticipate this event with proper enthusiasm!) David Ross (Professor of Clarinet, the University of Texas at El Paso) will offer a scin¬ tillating and learned view of the early history of the clarinet. An appearance by the Smithsonian Chamber Players, with Lawrence McDonald, classical clarinet, will also be a feature of this aspect of the Conference.

JAZZ: In the field of jazz performance, Henry Duckham, co-director of the Conference, will be on hand with his quar¬ tet. S. Frederick Starr, clarinetist, Soviet affairs specialist, jazz scholar (Red and Hot: A History of Jazz in the Soviet Union) and college president, will present a view of early "chamber jazz" with his group. In addition, a screening of the docu¬ mentary film on Artie Shaw will be shown.

WORLD PREMIERES: A number of world pre¬ mieres for clarinet will highlight the Conference. In addition to the ICS commission by William Latham, works by Ed¬ ward Miller, William Sydeman, Paul Martin Polombo, and Enrique Raxach will be premiered. Composer Conrad Cummings will write a new work for all clarinetists attending the Conference, of an appropriately summery and celebra¬ tory nature, to be performed in an outdoor setting. Kent Kennan's recent transcription, for clarinet and piano, of the Prokofieff Sonata, Op. 94, for flute (or violin) will be per¬ formed. Chamber works by Alban Berg will be presented, in observation of the composer's centennial year, as well as a lecture on Berg's clarinet works by Dennis Nygren (Profes¬ sor of Clarinet, Kent State University).

CONCERTS: Mixed solo and ensemble concerts, to be known as ICS Concerts, will be scheduled throughout the Conference. The ICS Concerts will feature performances by Conference registrants. A number of offers to perform have already been received, but others are invited. For informa¬ tion on these concerts, and for information for those wishing to perform in the Marcellus Masterclasses, please write the Conference directors.

COMPETITION: An announcement of the 1985 Inter¬ national Clarinet Society Competition appears on page 8 in this issue of The Clarinet.

DISPLAYS: A large number of exhibitors will be pre¬ sent, including instrument manufacturers, mouthpiece mak¬ ers, publishers, and equipment manufacturers.

SITE INFORMATION: The Oberlin Conservatory of Music is a spacious facility, with excellent concert halls, a large practice unit, numerous rehearsal spaces, and conveni¬ ent and moderately-priced housing and dining. The 1985 In¬ ternational Clarinet Society Conference is grateful for the donation of these facilities. For further information or to re¬ gister, write:

The International Clarinet Society 1985 Conference Oberlin College Conservatory of Music

Oberlin, OH 44074 (216) 775-8643

Clarification... An item that appeared on page 31 of the Fall 1984 issue of

The Clarinet (Vol. 12, No. 1) titled " 'Reed' what Michel Ar- rignon thinks of it" was a paid advertisement of the G. Le- blanc Corporation. Views and opinions expressed in that advertisement are not necessarily those of the staff of The Clarinet or of the International Clarinet Society. Ed.

inert:


The Clarinet is the official journal of the International Clarinet Society. Published quarterly, it is sent without charge to all members.

Membership is open to anyone interested in the clarinet upon payment of annual dues. The following types of membership are available: • Active and Student: The only category of mem¬

bership with voting privileges. U.S., Canada, Mexico, $15 annually. All other countries $25 an¬ nually, which covers the extra cost of mailing The Clarinet magazine.

• Associate: A nonvoting membership available to libraries, publishers, dealers, and others with an active interest in the clarinet music profession. $15 annually.

Send payment by check or money order in U.S. currency to:

NORMAN HEIM Music Department

University of Maryland College Park, MD 20742

6 — The Clarinet

M .ake sure your students play

the very best they can. Introduce them to the new

YamahaYCL'20 student model B'flat clarinet.

The new YCL-20 goes beyond what you would expect a stu¬ dent clarinet to be. It repre¬ sents all that a student clarinet should be.

To begin with, it's designed for the student. And for the beginning student, nothing is more important than an instru¬ ment you don't have to struggle with when learning the basics.

And as the student pro¬ gresses and begins to play more demanding music,

he'll find the YCL-20 more than equal to the task. That's because we were demanding when we

designed it, and insisted it possess the features students

need to play their very best. The body, with a 5-year

warranty, and made of high impact molded ABS resin, is unaffected by weather and temperature, yet provides uniform resonance in every register as well as superb tonal quality. The nickel-plated 17 key, 6 ring mechanism and stain¬ less steel springs deliver super sensitive action. Hand finished tone holes and bore are precision engineered for optimum tonal bal¬ ance. And to reduce the possibility of damage during assembly, the YCL-20 has a new bridge key mechanism.

Actually, when you get right down to it, the new YCL-20 student model has many of the features our most expensive pro¬ fessional models possess. Yet, the

YCL-20 is competitively priced. Which makes it not only a superior instrument but also a superior value.

So introduce your students to the new YCL-20. Let them dis¬ cover the joy and excitement of playing the very best they can.

© YAMAHA

Play the very best you can.

Eligibility:

Application:

The International Clarinet Society

1985 Conference


COMPETITION

July 21, 1985

Open to all clarinetists who shall not have reached the age of 22 years by January 1, 1986.

The following materials should be submitted, postmarked no later than June 15, 1985 and mailed to:

ICS 1985 Conference Competition Oberlin College Conservatory of Music

Oberlin, Ohio 44074

1. Application fee check for $15.00 (current ICS member) or $20.00 (non-member) made out to ICS 1985 Conference Competition. Fee is non-refundable.

2. Good quality reel-to-reel or cassette tape recording containing repertoire indicated below. Tape should be two-track stereo, recorded in one direction at 7 V2 ips. The name, address, telephone number of the contestant and the repertoire should be af¬ fixed to the cassette or the reel. The sequence of the selections on the tape should correspond to the repertoire list (Mozart, followed by contestant's selection).

3. A separate written statement attesting that the recording is the playing of the con¬ testant. The statement should show the name, address, telephone number, class level and name of the school or college (if a currently enrolled student) and age of the contestant as of January 1, 1986. Statement should be signed by contestant.

Repertoire: Preliminary tapes which must have piano accompaniment should include the follow¬ ing:

1) Weber, Concerto No. 1 in F minor, Op. 73, mvts. II and III.

2) Selection of the contestant's choice, not to exceed eight minutes. Work may be an etude, unaccompanied piece, or portion of a larger work.

Semifinals and finals to be held at Oberlin will include preliminary repertoire, plus Spohr, Concerto No. 2 in E-Jlat, Op. 57, mvt. I.

Awards: The top three finalists will have a choice, based on their ranking in the Competition, of a professional line clarinet from a leading manufacturer. The Conference will have tuition fee waived for the three finalists.

The person judged the best clarinet enrolled in high school grades 9, 10, 11 and 12 at the time of the competition will be awarded a cash prize of $250.00. Should this person not be one of the three finalists, conference tuition fee will be waived for that individual also.

Judging: Judges will be participating artists of the Conference. Semifinals will take place on Sunday, July 21, at the Oberlin Conservatory of Mu¬

sic. The final round will take the form of a public concert early in the Conference. Accompanists will be provided, if desired. Repertoire need not be memorized. Semi-

finalists are expected to register for the Conference, and should notify directors of the Conference of their intent to compete within ten days of notification of acceptance. All tapes become the property of ICS 1985 Conference Competition.

The Conference is grateful to Yamaha, Boosey-Hawkes Buffet, Leblanc, Selmer, and Conn for donating instruments, and to the Oberlin College Conservatory of Music for the cash award.

8 — The Clarinet

"The Henkin clarinet for

out-classes any student clarinet

on the market today."

—Lt. Col. C.A. Mac F. Lowell, Band Director New York Military Academy, Cornwall-On-Hudson, NY

"The Henkin clarinet seems to have conquered some of the inherent intonation difficulties present in (other) clarinets." —Everette Noel, Band Director

Martinsville JHS, Martinsville, VA

My best sixth grade player could do everything ..except play with a good tone. I tried a variety of corrective measures—nothing helped. Finally, I gave him the Henkin clarinet. Presto! Great sound and intonation. He got a first at contest.—Thanks!" —Mark A. Jones, Band Director

Fort Calhoun JHS, Ft. Calhoun, NE

"I would be happy to have a complete set of Henkins all the time. It adds immeasurably to the sound of our band. —James Meridith,

Band Director Dunbar MS, Lynchburg, VA

"The workmanship is impressive. The scale is even and in tune through all registers. The mechanical action of the Henkin is very precise and stable." —John H. Panhorst, Band Director

Vianney HS, St. Louis, MO

"My clarinet section had a more reso¬ nant sound and played crisper on technical passages with the Henkin. I would be happy to recommend it to all my students.' —Gary W. Cowgill, Band Director

Glendora JHS, Giendora, CA

"The key mechanisms are much quieter...! like the response going across the break ...The Henkin has a richer sound—especially in the lower register." —Robert Shauver, Band Director

New Castle Crysler HS New Castle, IN

"The upper octave responds more freely...The keys on the Henkin cause less 'finger prob¬ lems' than on the other brands." —Robert W. Briggs, Band Director

Surrey Public Schools, Surrey, ND

"Tuning is more uniform throughout the scale. The Henkin is so much better, there is no comparison." —John Carroll, Band Director

Grapeland HS, Grapeland, TX

"...far superior to (other) beginning instruments...including Selmer Bundy and Selmer Signet." —Mike Cannon, Band Director

Person High School, Roxboro, NC

"...you have the best student clari¬ net we've seen...uniformly in tune and mechanically perfect."- —Ed Etkins, Band Director

Indian Crest JHS, Souderton, PA

"The Henkin produces a defi¬ nitely better sound than the Bundy, Vito, and others."

—Julian Early, Band Director Holly Hill-Roberts HS Holly Hill, SC

"The (special) bore helps students produce a betterquality tone..."

—Dick Wolford, Band Director Longfellow JHS,

^ Hill City, KS

"...there is noticeable improve¬ ment in intonation...The throat tones are also much more in tune." —Claire Horn, Music Supervisor

Saddleback Valley School Dist., Mission Viejo, CA

"...I congratulate you on your forethought...the screw adjust¬ ment on the crowfoot will be a boon to every school music teacher." —James IV. Gwyn, Band Director

Marshall HS, Marshall, IL

"...the Henkin's intonation is as good as my own Buffet of Paris." —Sidney P. Janise, Band Director

Prairie Elementary, Lafayette, LA

"Key alignment seems to be more in keeping with the size of students' hands and aids their technical facility greatly." —Herman C. Byrd, Jr., Band

Director Salem School Dist., Salem, MO

"I like the Henkin so much, I started all my fifth graders on them and it has made a BIG difference." —Clifford W. George, Band Director

Lincoln JHS, Park Falls, Wl

"My students are accustomed to playing on less than high grade instruments and the change in sound was phenomenal." —Carri Swope, Band Director

Wagoner Public Schools Wagoner, OK

"This year is the first time that the junior high band has received a first division at contest. I give... credit to you and this Henkin clarinet." —Robb G. Thiel, Band Director

North Miami HS, Denver, IN

"In one word—excellent!" —Salvatore LaRusso, Band Director

Weston Middle School, Weston, CT

For more information on the

(bfenltii

TM

clarinet see your Conn Dealer or write C. G. Conn, Ltd. PO. Box 727 Elkhart, IN 46515

An interview with Colin Bradbury

By James Gillespie, Editor

(During the week of the International Clarinet Congress in London, Colin Bradbury, Principal Clarinetist of the B. B. C. Symphony Or¬ chestra, and I found time over lunch to chat about his musical activi¬ ties. After instructing me on the proper way to pour a pint of England's finest liquid refreshment, we got down to business. Ed.)

James Gillespie: Especially with our American readers in mind, could you sort out for us the various B.B.C. orches¬ tras and the organization and background behind the B.B.C.?

Colin Bradbury: Well, I should imagine the whole concept of the B.B.C. and the Public Service Broadcasting Organiza¬ tion is a bit of a mystery in the States. We were very lucky that when broadcasting first started in the 1920s that the gov¬ ernment of the day, after starting with a consortium of wire¬ less set manufacturers — that's how the whole thing started — decided in their wisdom that things ought to be put on a more ordered footing and changed from the B.B.C. — Bri¬ tish Broadcasting Company to the British Broadcast Corpor¬ ation, with a Director-General, Lord Reith, who happened to be a visionary and who set up the B.B.C. as the public ser¬ vice organization we know today. And, of course, the com¬ mercial radio in this country is very much a thing of recent years only having recently come to England in the 1950s and 1960s. One of the things which the B.B.C. was doing in the early days was a lot of serious music. And, to that end, they formed their own orchestra in 1930, that being the B.B.C. Symphony Orchestra.

J.G.: Can you describe the functions of the various B.B.C. orchestras based in London?

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C.B.: Let's go back to 1930 just a minute, because the whole thing started then. There were no salaried orchestras in Lon¬ don, and the field was wide open if the money was available. The B.B.C. had the money to form a salaried orchestra. They just got the finest wind players that they could out of London and the rest of England; they auditioned for the most brilliant young string players, and they had this orches¬ tra, which in 1930 until after the war, was absolutely the pride and joy of everyone in England and 'round the world. Toscanini conducted it and was very happy to be associated with it. Of course, since the war other orchestras have grown up. Now the B.B.C. Symphony Orchestra is in a unique po¬ sition in that it is a radio orchestra; it does a lot of radio broadcasting. In fact, every single thing we do is broadcast on the radio including all the live concerts. And, at the same time, is the fifth of the London orchestras, the other four be¬ ing self-running, the B.B.C. being salaried. As such it has a special function, whereby not being totally dependent on the box office, it can lead the way, as it were, in music and con¬ cert planning in London. That's the Symphony Orchestra. Apart from that we have our regional orchestras. We used to have many more than we have now. But we have what was the B.B.C. Northern Symphony Orchestra based in Man¬ chester, and it's now been rechristened the B.B.C. Philhar¬ monic Orchestra. They do the same job in Manchester that we do in London. They do a lot of public concerts and studio work and a certain amount of touring. They also contribute to the national network just as we do. In Wales we have the B.B.C. Welsh Symphony Orchestra which fulfills the same function in Cardiff. There are public concerts there contri¬ buting to the network, and in Glasgow the B.B.C. Scottish Symphony Orchestra. So, those are the four — all run by the B.B.C. And it's interesting that in each of the centers where the B.B.C. has an orchestra, there are also independent or¬ chestras going at the same time. There's the Halle in Man¬ chester, the Scottish National in Glasgow and the Welsh Philharmonia which plays for the opera in Cardiff.

J.G.: All with completely separate personnel?

C.B.: All with completely separate personnel and no dupli¬ cation. And, of course, as you know, in London we have five symphony orchestras.

J.G.: Yes.

C.B.: Apart from that, there is the B.B.C. Concert Orches¬ tra which is based in London and carries a lighter repertoire. Unfortunately, since 1980 we have no other light orchestras in the B.B.C.

J.G.: Does playing with your orchestra differ appreciably from playing in other English orchestras? I suspect the fact that everything is broadcast is the most obvious difference?

C.B.: Yes, but the main difference is repertoire. The fact is when you broadcast everything, you cannot repeat yourself very often. That, coupled with the fact that we do have our duty to the contemporary composer and not to the box of¬ fice, means that we have, I should think, the widest reper¬ toire of any orchestra in the world.

J.G.: To change the subject a bit, how did your interest in 19th-century clarinet music come about that has resulted in your three recordings, The Victorian Clarinettist, The Drawing Room Clarinettist and The Italian Clarinettist? C.B.: Because I wanted to do some recording, and I didn't

10 — The Clarinet

want to do just the same repertoire, however fine, because it's very limited. And if one takes only the very, very finest of music that's been written for the clarinet, then the repertoire is small. As soon as you delve below the surface, you have something bigger. The original idea was really to get Victor¬ ian light music, airs and variations and that kind of thing — really amusing salon stuff with no real depth. I started off the project and then Oliver Davies became involved. He is my pianist and a scholar of no mean order and is very keen on 19th-century music. And it was through him that we started researching the repertoire much more deeply and much more widely and coming up with the kind of things we are doing — which is great fun, and it was a lot more scholarly than I originally envisaged.

J.G.: Since very little of the music was published when you recorded it, where did you locate it? In libraries here in Lon¬ don?

C.B.: Oliver had a collection of albums of nineteenth- century clarinet music that he had since he was a student and used to work with a clarinet player. Those formed the basis. And then in noting dedicatees and chasing things through and using Pamela Weston's book, Clarinet Virtuosi of the Past — a great source book. Oliver spent many, many hours in the British Library searching for things, and that's how we came up with our repertoire. Also, my original teacher from Blackpool, who recently died, sent me his library, and my bass clarinet colleague in the B.B.C., Tony Jennings, his teacher has got the library of early 20th, late 19th-century entertainment music, and we sifted through all these. We eventually came out with a half dozen pieces we thought were worth putting out.

J.G.: Your most recent album, what's on that?

C.B.: Well, the first one we did was the Victorian one which is music that was English or music that would have been per¬ formed by clarinet players such as Lazarus. The second one was drawing room, more serious music, really, from the ear¬ lier part of the century from all over Europe. A lot of it would have been published really for "piano and clarinet" rather than "clarinet and piano" by composers such as Spohr, Ros¬ sini, Reissiger, and people like this. With the Italian one, the latest, we had the idea of basing it on a player, as the Victor¬ ian one was based on Lazarus, the Italian one had to be based on Cavallini. He was an absolute giant. So, we spent three days in the Conservatory Library in Milan, and we went through every piece of clarinet music they've got there and came back with a pile of photocopies including nearly all of Cavallini's works and a lot more besides. We spent hours and hours going through it all when we got back to London, and we came up with our Italian program — one side all Ca¬ vallini, the other side other people, contemporaries, friends.

J.G.: Do you have many opportunities to play chamber music with all your orchestra responsibilities?

C.B.: I've not done chamber music, as such, for some time. We used to have an ensemble, but it dispersed. My own en¬ ergies have been divided into three ways with the solo work, my orchestral post and my teaching at the Royal College. But I've just done a solo tour of Australia, and when I was there I got involved with some chamber music. I feel it's a part of my life I've been missing out on, perhaps. But you can't do everything, can you?

J.G.: Have any of the new avant-garde works interested

you?

C.B.: I've done a lot of avant-garde music with the orches¬ tra. Pierre Boulez was our conductor, and I very much en¬ joyed that period. When you do a lot of avant-garde music, one doesn't expect all of it to be good. Only hindsight and posterity will tell. Some of it is painful, some of it is enter¬ taining, some of it is challenging and some of it is very plea- sureable. As for solo clarinet avant-garde music, I've done very, very little. I don't know why this is, perhaps specializ¬ ing in the other things? I've really not been all that keen on spending a lot of time developing modern techniques. I think I can play a multiphonic with the best of them, but I wouldn't say I have a large repertoire of multiphonics. I real¬ ly do regard top C as the top note of the clarinet. I know I'm very old fashioned like Cavallini, but he wrote chromatics up to it, you know? So, I'm opened minded about avant-garde music in my orchestra life, but I've never gone out of my way as a soloist to play it.

J.G.: What is your perception of the American school of clarinet playing?

C.B.: I hate generalizing like this for I have a basic mistrust of pigeonholes. It annoys me intensely when people start talking about the "English School of Clarinet Playing." There is no such thing. It's the same as people generalizing about instruments. When I was a student, Jack Brymer was fairly new on the scene as an established soloist and as Princi¬ pal with the Royal Philharmonic Orchestra. My teacher, Frederick Thurston, played rather differently. If you listen to them both today from recordings taken at that time you'll find totally different sounds on identical instruments. If you had told me at that time that one was going to be called by students as the "English School," I would have laughed at them and so would other people. Where did Reginald Kell and Bernard Walton fit into all this? I don't believe there is an English School of Clarinet playing as such, except in the widest possible terms. And with English teachers, there is so much laissez faire about the English conservatoria. People can come to the Royal College or the Royal Academy, Guildhall, or Trinity and they can choose their own profes¬ sor; they can change their own professor mid-stream if this is possible with the people concerned within the institutions and no one, but no one is a head of the department to lay down a school of playing. It's just not like that, I'm afraid. And I think you'll find that, and this is no reflection on any individuals, that pigeonholes are a convenient way of not having to think. You asked me about the American School of Clarinet Playing. Is there an American School of Clarinet Playing?

J.G.: Almost everything you've just said would also apply to America, I believe.

C.B.: All I can say is that when you listen to some American players in orchestras, hearing them anonymously, you'll hear a certain similarity between them, but as soon as you listen to the greater names of American players, they are in¬ dividuals again.

J.G.: Any plans for researching more literature, old or new? What country after Italy?

C.B.: After Italy we've got a few ideas, not to let too many cats out of the bag. There are other European countries (chuckle), and there are also other periods.

J.G.: Thanks for sharing all this with our readers.

The Clarinet — 11

The clarinetists of the B.B.C. Symphony Orchestra

Left to right: Anthony Jennings, Colin Bradbury, Donald Watson, Roger Fallows.

Principal Clarinetist Colin Bradbury was born in Black¬ pool, Lancashire and began playing the clarinet at age ele¬ ven. He joined the National Youth Orchestra at fifteen and became Principal Clarinet a year later. He studied at the Royal College of Music with Frederick Thurston and later with Sidney Fell and won the Tagore Gold Medal awarded to the best final-year student. Before joining the B.B.C. Symphony Orchestra, he played with the Sadlers Wells Op¬ era Orchestra. His concerto performances have included those by Mozart, Weber, Debussy, Busoni, Nielsen, Conrad Beck and Stanford. He is a Professor at the Royal College of Music and coaches the woodwind section of the National Youth Orchestra of Great Britain. His clarinets are Boosey & Hawkes 1010s with a Boosey & Hawkes mouthpiece, Van- doren (No. 3) reeds and ligature, and he enjoys brewing beer and playing golf as hobbies.

Roger Fallows serves as the orchestra's Co-Principal and E-flat Clarinetist. He studied at the Trinity College, Cam¬ bridge and at the Royal Academy of Music. Before joining the B.B.C. Symphony Orchestra in 1971, he played in the London Sinfonietta. He plays a Buffet RC Prestige clarinet with a Vandoren A2 glass mouthpiece and Vandoren (No. 2) reeds. His hobby is antiques.

Donald Watson, Sub-Principal Clarinet, joined the or¬ chestra in 1973. He studied at the Royal College of Music with Colin Bradbury and served as a member of the B.B.C. Training Orchestra in Bristol (1968-69) and as Principal Clarinet in the B.B.C. Northern Ireland Orchestra (1969-73). He has taught at Eton College and at the City of London Literary Institute. He plays Boosey & Hawkes 1010 clarinets with a Boosey & Hawkes mouthpiece, Vandoren reeds (No. 2 or 3) and a Boosey & Hawkes ligature. His hob¬ bies include sea fishing, collecting modern prints, and glid¬ ing.

Bass Clarinetist Anthony Jennings started playing at age fourteen. He served five years in the Irish Guards Band be¬ coming Solo Clarinet. He studied at the Royal College of Music with Frederick Thurston and Bernard Walton. Before joining the B.B.C. Symphony Orchestra in 1955 he played in the Festival Ballet Orchestra and the Yorkshire Symphony Orchestra. He plays Boosey & Hawkes clarinets, mouth¬ piece, and ligature with Vandoren reeds. His hobbies in¬ clude gardening, car maintenance, bread baking, bird watching, and travel.

12 — The Clarinet

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British clarinet concertos

By Ewart L. Willey

This article is based on the reductions for clarinet and pi¬ ano of concertos contained in my collection of clarinet music which was started in 1937. Thus, many of the items are in print and furthermore, it should not be too difficult to obtain a sight of any that are now out of print.

The piano reduction is an absolute necessity for the gener¬ al body of players to gain knowledge of and acquaintance with a concerto; it is only the fortunate few who have the op¬ portunity to play such a work with an orchestra. Many con¬ certos must owe their survival to the fact that the composer, and perhaps more importantly the publisher, has provided a piano score at the outset. On the other hand in a few cases, the merits of a work have caused a demand for a reduction which has only been met after many years; a prime example is the Concerto by Sir Charles Stanford which was tantalizing- ly unavailable for nearly 75 years.

Even though the earliest date of publication that will be mentioned is 1898, there seem to have been few clarinet con¬ certos by British composers written and published before that date. Pamela Weston in her book More Clarinet Virtuosi of the Past (pub. Pamela Weston 1977) mentions only three: two by John Mahon, published in 1785 and 1790 respectively, and one by Joseph Williams (1795-1875). Very recently a Concerto by James Hook (1746-1827) written in 1812 has come to light and been published for the first time.

In Europe, the form attracted many composers. The very first clarinet concerto is thought to be that by Johann Stamitz who died in 1757 (Leeds, 1953). Mozart's great masterpiece was written in 1791, to be followed by Weber and Spohr. Al¬ so there was no lack of works by lesser composers (which are now being made increasingly available by such publishers as Edition Kunzelmann and Musica Rara). However, the Mozart Concerto was not performed in England until 1838, reflecting a lack of interest on the part of British concert- goers in concertos — the popular clarinet solos were virtuoso variations on operatic themes.

The one example of an early 19th-century concerto, that by James Hook, has an interesting preface by Jack Brymer recounting how a barely decipherable manuscript full score was found in a Tokyo library by a former pupil of his. Messrs. Brymer and Paul Meecham have prepared playing versions and a piano reduction. There are the normal three movements and the music is very pleasant, being obviously designed to appeal to the listener through its own merits rather than by providing a display of instrumental acrobatics by the soloist. The piano score, published by Josef Wein¬ berger (1983), is well designed for the pianist. There are some suggested cuts, but even without these the work does not present any tedium.

The re-introduction of the clarinet concerto to the concert halls of Britain is attributed to Manuel Gomez (1859-1922), a leading player of his time, who was also largely responsible for the introduction of the Boehm system into this country. Also, no doubt, the appearance of the Brahms masterpieces and the playing of Richard Miihlfeld were contributing fac¬ tors. Percy Pitt (1870-1932) wrote his Concertino in C minor, Op. 22, especially for Gomez. It was first performed in 1897 and the piano score published in 1898 — it is now available from Boosey and Hawkes Music Archive. Percy Pitt was pri¬ marily a stage and light music composer who will be mainlv remembered as the first Director of Music of the British Broadcasting Company. He conducted the first of the BBC's public concerts in 1924. On his retirement in 1930, he was

succeeded by Sir Adrian Boult, and he may be said to have established the direction the BBC's musical activities were to follow.

The Concertino is in one movement made up of three sec¬ tions, the slow middle section being a mere twenty bars in length. As a footnote to the score, the composer states that two themes are based on sketches by Cavallini (1807-1874), the Italian virtuoso. There are two written out cadenzas — the original which is a monument to the virtuosity of Gomez — and a simplified version. As regards the work as a whole, the solo part is athletic and difficult, though the orchestra plays an integral function and not that of a mere accompani¬ ment. As a minor landmark in the history of the clarinet con¬ certo, I feel that this work merits an occasional hearing.

The Pitt was shortly followed by a major work, the Concer¬ to, Op. 80, by Sir Charles V. Stanford (1852-1924). It was the second of Stanford's three works for clarinet (Three Inter¬ mezzi, Op. 13 and Sonata, Op. 129), and was written for Miihlfeld. He refused to play it and the dedication was crossed off the full score. The first performance was then giv¬ en by Charles Draper in 1904. The work would have re¬ mained largely unknown but for the championship of Fre¬ derick Thurston, who first played it as a student at the Royal College of Music in the presence of the composer and also gave a number of performances over the years. There were also a few bars quoted in a text book on orchestration by Ce¬ cil Forsyth — but despite numerous requests to the publish¬ ers who owned the music, it remained unavailable. Then in 1977 Cramer and Co. published a piano score. The piano part is excellently arranged by Pamela Weston so as to be playable by a pianist of reasonable attainment. The availa¬ bility of the music was followed in 1980 by a gramophone record of a performance by Thea King (Hyperion — A66001). The Concerto is in three movements that follow each other without a break, and the soloist changes from B-flat to A clarinet for the last movement. Unlike the traditional ap¬ proach, there is not a long introduction, the clarinet entering in the ninth bar — and, furthermore, there is no cadenza. This work is lyrical with an individual style, and there is no virtuosity lor its own sake. It is an important and beautiful piece.

The next concerto to appear seems to be that with string orchestra by Alan Rawsthorne (1905-1971). It was written for Frederick Thurston as was this composer's Quartet for Clarinet and Strings (1948) — (Oxford University Press, 1950) — and Thurston gave the first performance of the concerto in 1937. Again there was to be a lapse of time before the pi¬ ano score was published which was issued by Oxford Univer¬ sity Press in 1972 — and Thea King has also made a record ol the work (Hyperion A 66031). There are four movements: Preludio, Capnccio, Aria and Invention. This is a substantial contribution to the repertoire, but Rawsthorne's music does not wear its heart on its sleeve and requires effort on the part of the listener. The piano score, made by another composer, Gerard Schurmann, requires a very competent pianist.

Joset Holbrooke (1878-1958), a prolific and uneven com¬ poser, wrote a Double Concerto, Op. 119 for clarinet, bassoon and orchestra in 1939, which had two dedicatees, Reginald Kell and the great bassoonist Archie Camden. Holbrooke frequently found literary inspiration, often from the works of Edgar Allan Poe, and in this case it was an early poem "Ta¬ merlane." On the full score each of the three movements is preceded by a quotation from this poem. A piano reduction

14 — The Clarinet

is available from the Blenheim Press, who also publish the composer's clarinet quintet which was recorded by Reginald Kell on 78 rpm records. Unfortunately, the Poe quotations do not appear on the piano score; neither does the name of Archie Camden — a regrettable oversight. It is a full blood¬ ed romantic piece requiring very competent players — and a recent broadcast performance by Thea King, Martin Gatt and the English Chamber Orchestra showed that it merits a better fate than the virtual oblivion which has overtaken it.

Two other works to appear during the war period were ar¬ rangements from the works of classical composers. A third such work was to appear in 1952. The most well known, and indeed the best of these, is the Concertino for clarinet and strings arranged by Gordon Jacob (1895-1984) from two vio¬ lin sonatas by Tartini (1692-1770). The result is a very idio¬ matic clarinet work which goes exceedingly well with the pi¬ ano (Boosey and Hawkes, 1945). It was preceded by a con¬ certo for soloist and strings freely arranged by Arthur Benja¬ min (1893-1960) from the keyboard works of Cimarosa (1749-1801). Benjamin is better known to clarinetists for his Le Tombeau de Ravel for clarinet and piano (Boosey and Hawkes, 1958). The solo part of this concerto may be played by flute, oboe, violin or clarinet. However, the clarinet part is not just a version of a general purpose solo part, but uses the full range of the instrument. There are four movements, and the whole is an effective and not too difficult solo work which goes well with the piano (Hawkes 1942). As one of the very few new works to appear in Britain during the War, it was a very welcome arrival.

The third such arrangement was published by the Oxford University Press in 1952. Again it is a concerto with string orchestra, this time arranged by Sir John Barbirolli from the works of Handel (1685-1759). It is dedicated to Pat Ryan who was principal clarinet in the Halle Orchestra under Sir John. Ryan played a simple system clarinet with a virtuosity that precluded any need for the improvements of Boehm. Again, the work is in four movements, the first taken from one of Handel's concertos, the second from a trio sonata, the third based on an aria from the oratorio Belshazzar, and the fourth is from an organ concerto. It has the easiest solo part of these three concertos and is a pleasant incursion into the baroque period, useful as a student piece, but lacking the in¬ spired flair displayed by Gordon Jacob.

In 1945 Elizabeth Maconchy (b. 1907) wrote a concerto for clarinet and string orchestra for Frederick Thurston, but sadly the work still awaits publication. Miss Maconchy has established recognition as an important and intellectual com¬ poser, and her two compositions for clarinet that have been published — the Quintet for clarinet and string quartet (Ox¬ ford University Press, 1966) and the Fantasia for clarinet and piano (Chester, 1981) — make one hope that the Concertino will be made available.

Four years later, Frederick Thurston gave the first per¬ formance of another work dedicated to him, the Concerto for clarinet and strings by Gerald Finzi (1901-1956). The work was composed in response to a request in 1948 for a work for string orchestra to be played at the Three Choirs Festival of 1949. Finzi had, for some time, wanted to write a concerto

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The Clarinet — 15

for clarinet and strings, and he obtained the agreement of the festival authorities to this change. He then asked Frederick Thurston if he would be the soloist, with the result that there was the closest cooperation between them throughout the writing and preparation of the concerto. The outcome can only be described as a major work. There are two recordings of it, by John Denman (Lyrita SRCS 92) and by Thea King on the same disc as the Stanford Concerto. The eagerly await¬ ed piano score was published by Boosey and Hawkes in 1951.

Another work dedicated to Thurston was the Concerto with string orchestra, Op. 20 by Malcolm Arnold (b. 1921) who had given up trumpet playing for composing and had burst on the scene in 1945 with a rumbustious overture Beckus the Dandipratt, Op. 5. The exuberance and lyricism of the con¬ certo proved immediately attractive and further established Arnold's name as a composer with a sense of humour. The soloist is not presented with any great difficulties. The piano score appeared in 1952 (Lengnick).

More recently Arnold wrote a second Concerto (Op. 115), this time for Benny Goodman who gave the first perfor¬ mance in 1974. We then had to wait another seven years be¬ fore Faber Music published a piano reduction. For this work, flutes, oboes, bassoons, horns and percussion were added to the orchestra. As might be expected, the style has a large element of jazz, and an improvised cadenza is called for in the first movement as "jazzy and way out as you please based on the concerto's themes." The piano reductions of both concertos are playable.

Two works appeared in 1953. A Concertino by Matyas Sei- ber (1905-1960) and a Concertante by Joseph Horovitz (b. 1926) — both written for clarinet and strings.

A review in The Times of an early performance of the Sei- ber described it as "a little masterpiece." The concerto start¬ ed life as a clarinet sextet in which form it is sometimes played. There are five movements: Toccata, Variazioni sempli- ci, Scherzo, Recitativo and Finale. It is a tuneful, rhythmically interesting and highly individual work requiring considera¬ ble fluency on the part of the soloist. This is Seiber's largest work for the clarinet — he also wrote the very witty DreiMor- genstern Lieder (1929) for soprano and clarinet (Universal 1956) and an excellent short piece for clarinet and piano, An- dantino Pastorale (Schott, 1950).

The Concertante is Horovitz's first published work for clari¬ net. It was written in 1948, and the composer has provided a version for clarinet and piano (Chester, 1953). It is a pleas¬ ant piece, of no great individuality — almost a modern equi¬ valent of the Weber Concertino, though not as difficult. It is in four continuous sections, the last of which, an Allegro grazi- oso, is very much in the style of Weber. The ready availabil¬ ity of the Concertante on the shelves of music shops is evidence of its continued popularity.

Horovitz followed this with a Concerto, Op. 7, also with strings, written for Gervase de Peyer. This is a very much more individual piece calling for a much higher level of tech¬ nique from the soloist. It is in the standard three-movement form and shows a rhythmic vitality and attractiveness for which this composer's music has subsequently become known, e.g. in the Clarinet Sonatina of 1981. The piano reduc¬ tion was published in 1956 by Mills Music.

A full scale concerto had its first performance by Sidney Fell and the London Symphony Orchestra under Sir Mal¬ colm Sargent in 1954. It was by John Veale (b. 1922) who

had already had a symphony performed at the 1952 Chelten¬ ham Festival, which raised hopes that here was a composer who might make his mark on the musical scene. These hopes were buoyed by the favourable impression made by the con¬ certo, but have not been fulfilled. A piano reduction was published by Oxford University Press in 1955. It is romantic and melodious and in no way avant-garde; it does not re¬ quire exceptional virtuosity. This work certainly merits re¬ hearing.

Gilbert Vintner (1909-68) was a well known and successful composer of lighter music, and one had some expectation that his Concertino would be a notable addition to the reper¬ toire. Sight of the piano score (Boosey and Hawkes, 1955) dispelled these hopes, though the work could be used as a student piece.

Alun Hoddinott (b. 1929), a Welsh composer, made an early impression with a Concerto, Op. 3 for A clarinet and string orchestra. It was first performed at the 1954 Chelten¬ ham Festival by Gervase de Peyer and the Halle Orchestra conducted by Sir John Barbirolli. The Concerto has three movements: Capnccio, Arioso and Burlesca. It is an interesting and attractive piece requiring a good player. The solo part was published by Oxford University Press in 1955, and the piano reduction appeared in 1964. Hoddinott has gone on to establish himself as a major Welsh composer with an impres¬ sive list of compositions of all forms, including a clarinet So¬ nata, Op. 50.

Another major Welsh composer who has given us a Concer¬ to is William Mathias (b. 1934). His first work for clarinet was a Sonatina, Op. 3, which made a considerable impression at the 1957 Cheltenham Festival. The Concerto, which is with strings and percussion, is Op. 68. The clarinet part has been published, but the piano reduction is available only on hire (Oxford University Press).

Gordon Jacob was 60 in 1955 and to mark the occasion Adrian Cruft (b. 1921) wrote a Concertino, Op. 21 with strings. Cruft is a seriously minded composer who writes in a conservative idiom. Composition is but one of his activities; he has also been a double bass player, teacher and conduc¬ tor. The Concertino is in three movements, and there is a ca¬ denza in the slow middle movement. However, it is not a display piece, and requires thoughtful musicianship as well as a good command of the instrument. The work merits more frequent performance. Joseph Williams published the piano reduction in 1956. Cruft followed this with an Im¬ promptu, Op. 22 for clarinet and piano in memory of Freder¬ ick Thurston which can also be played with string orchestra (Joseph Williams, 1957).

Another work which has failed to establish itself in the re¬ pertory is a Concerto for A clarinet and string orchestra by Ivor Keys (b. 1919) (Novello, 1959). The composer is Pro¬ fessor of Music at Birmingham University. The work is in three movements, the third being a theme and variations; the theme is played by the orchestra and the clarinet does not enter until the first variation. The solo part fully exploits the characteristics of the clarinet, but I find the whole work rath¬ er disappointing.

The next work to appear was Arnold Cooke's (b. 1906) Concerto, again with string orchestra. This has achieved some popularity and has been recorded by Thea King (Hyperion A 66031). It is another "Cheltenham" work having been given its first performance at the 1957 Festival by Gervase de Peyer. This composer has written a number of worjcs for

16 — The Clarinet

clarinet — Suite for Three Clarinets (Oxford University Press, 1959), Three Songs of Innocence for soprano, clarinet and piano (Oxford University Press, 1960), Sonata for clarinet and pi¬ ano (Novello, 1962), Quintet for clarinet and strings (Oxford University Press, 1963) and recently published trio for clari¬ net, cello and piano (Anglo-American Music, 1984). The Concerto is not the best of his clarinet works, but, neverthe¬ less, is a worthwhile one. The piano reduction (Novello, 1964) requires some pianistic ability.

Thea Musgrave (b. 1928) was commissioned to write a clarinet concerto by the Royal Philharmonic Society, and it was given its first performance by Gervase de Peyer, to whom it is dedicated, in 1969. It is a very unusual and large scale work, requiring a full orchestra in which a piano accor¬ dion plays an important part. It is one of a series of "drama¬ tic concertos" (others are for orchestra, horn, and for viola); it involves a fusion of traditional and avant-garde techniques such as aleatoric passages. Also, the soloist is required to move between four positions in the orchestra. There is a gramophone record of the concerto (Argo ZRG 726) with de Peyer as soloist — and a very exciting piece it is. A piano re¬ duction might seem an impossibility, but there is one, pub¬ lished by Chester and requiring a relatively substantial fi¬ nancial investment. It is a reproduction of the composer's very clear manuscript; she has produced a document which is not a mass of notes, but is playable without recourse to "special effects," though a conservative outlook would be a handicap! The indications of the scoring are excellent, and used in conjunction with the record, provide the adventur¬ ous clarinetist with some fascinating material. The clarinet part is in four detached sections — one for each position in the orchestra and the first page has a plan of the orchestral layout and of the route to be followed by the soloist.

In 1972, Musica Rara showed considerable enterprise in publishing a concerto for clarinet and strings by a relatively unknown composer Roy Heaton Smith (b. 1928), which had been broadcast in 1971. It is in three movements, the first and third are rhythmically interesting, the slow middle movement is very effective, and the whole is piquant in style. An A clarinet is required. This is a little known piece that is well worth investigating.

Graham Whettam's (b. 1927) Concerto, Op. 40 (Mills Mu¬ sic, 1974/Meridan) is another large scale work with full or¬ chestra, though regrettably the piano reduction fails to give any indication of the scoring — surely a major omission, as the orchestral color of this work is such an important factor. This piece is in a traditional idiom, calling for a very compe¬ tent soloist. An interesting feature is an integral and relevant cadenza in the first movement.

Paul Harvey (b. 1935), the virtuoso clarinetist who follows the 19th-century tradition of composing for his instrument, now rare, has written a concerto which he has dedicated to Stanley Drucker. This is a most effective work in three movements. It is in a traditional idiom and, as would be ex¬ pected, uses the full resources of the instrument. The piano reduction, which is a reproduction of the composer's very clear manuscript, was published in 1977 by the Belgian firm of J. Maurer (whose catalogue, incidentally, contains a num¬ ber of interesting clarinet works).

The Concertino by Alan Ridout (b. 1934) (Emerson Edi¬ tion, 1978), is one of a series he has written for wind instru¬ ments and string orchestra. It is a well composed and inter¬ esting short work which is obviously designed for perfor¬

mance by students and amateurs, both soloists and orches¬ tras.

The last work to be mentioned is the Mini-Concerto with string orchestra which Gordon Jacob wrote in 1980 for Thea King in appreciation of her performance of his clarinet quin¬ tet on Hyperion A 66011. Miss King gave the first perfor¬ mance of this concerto in May 1981 and Boosey and Hawkes published the piano reduction by the end of that year. Miss King's performance is now available on Hyperion A 66031. As the composer had written concertos for most other orches¬ tral instruments, the appearance of this work fulfilled a long standing hope that he would provide clarinetists with one that was "all his own work." The result is a four-movement work which does not require excessive virtuosity and which will be a repertory item that is popular with both players and audiences.

In conclusion, it must be emphasized that the opinions ex¬ pressed in this article are wholly subjective. The main aim has been to give an overall view of a section of our repertoire which is accessible and rewarding to explore. Whilst there is little danger that the 19th-century lack of interest in concer¬ tos will recur, it is regrettable that major national figures such as Bax, Bliss, Walton and Britten did not contribute to the clarinet concerto. However, a demonstrable interest on the part of players should help to stimulate composers to look to this field.

Recordings BRAHMS TWO SONATAS FOR CLARINET £ PIANO: S301 Mitchell Lurie, clarinet; Leona Lurie, piano. "Solid perfor¬ mances of some of the most glorious music ever composed. " — Music Journal. JAMES CAMPBELL, CLARINET —

S331 : Poulenc Sonata, Jeanjean Carnival of Venice, Berg Four Pieces, Vaughan Williams Studies in English Folksong, Schumann Fantasy Pieces, with John York, piano.

S333: Weber Seven Variations, Lefevre Sonata #7, Arnold Sonatina, Martinu Sonatina. w/John York, piano, "musical sensitivity & maturity" — The Clarinet (Jack Snavely)

S336: Lutoslawski Five Dance Preludes, Bozza Aria, Gade Four Fantasy Pieces, Pierne Canzonetta, Debussy Petite Piece. Premiere Rapsodie."I can recommend James Campbell's playing without reservation" — Aaron Copland. MELVIN WARNER, CLARINET: S332. Weber Grand Duo Con- certant, Spohr Six German Songs (w/Diane Ragains, soprano) William O. Smith Five Pieces (for clarinet alone). "One of the finest clarinet recordings I have yet to hear.- Audio Magazine MENDELSSOHN Clarinet Sonata; RECER Clarinet Sonata, opus 49, nr. 2: S334. John Russo, clarinet; Lydia Walton Ignacio, piano, "handsome performances, well recorded". San Francisco Chronicle, "polished performances" — The New Records DAVID HARMAN, CLARINET: S337. Donald Francis Tovey Sonata op. 16, Burgmuller Duo in Efr, Milhaud Duo Concertant, op. 351. "Instinctive musicianship" — New York Times MAX BRUCH Eight Pieces for Clarinet, Viola, 6 Piano: 5643. Empire Trio (Ethan Sloane, Alan Iglitzin, Paul Posnak). "Bruch composed beautifully and simply for this odd trio; here they return the favor" — Newsweek HALSEY STEVENS Clarinet Concerto; LUKAS FOSS Oboe Con¬ certo: S851. Mitchell Lurie, clarinet; Bert Gassman, oboe. Crystal Chamber Orchestra, Akira Endo conducting. "Clarinet playing of power, eloquence, & assurance" — Saturday Review Send $9.98 each plus $1 /order. Free record with each purchase of three: for each 4 ordered, pay for only 3 (mention this ad).

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The Clarinet — 1 7

The Czech scene

By Bohumir Koukal, Olomouc, Czechoslovakia

Franz Vincenc Krommer (Kramar) and

his solo works for clarinet

I suppose that the name of F. V. Krommer is known to all clarinet players. Franz Vincenc Krommer (Kramaf;) was born on the 27th of December, 1759, in Kamenice near Ti-ebii£ in Moravia as the son of an innkeeper. He was introduced to music at the age of 14-16 by his un¬ cle, the composer Anthony Krommer (1742-1804) who was a teacher and choirmaster at Tufany near Brno. He spent a major part of his life abroad, mainly as an emigrant in Vi¬ enna where he came into contact with

the music of Gluck, Haydn, Mozart and Beethoven. He spent the year 1785 in Vienna, and later went to Szimonthurn in Hungary as a concert performer and Count Styrum's court conductor. Towards 1790 he became the choirmaster of the cathedral in Pecs (Funfkirchen), where he remained for about three years. In 1793 he was appointed conductor of regimen¬ tal music by Court Karolyi. This new employment did not sa¬ tisfy Krommer's artistic aspirations, and he returned soon af¬ ter Count Karolyi's death to Vienna where he became the leader of Count Grassalkovitch's orchestra. After Count Grassalkovitch's death the orchestra was dissolved and Krom¬ mer started a new era. Being a composer with an artistically mature and well-balanced mind and vast musical knowledge and experience, he was able to make many friends. He found many supporters among the Viennese aristocracy where he gave lessons in violin playing and probably also in composi¬ tion. In 1807 he applied with no success for the position of vio¬ linist in the court orchestra. His request was rejected for eco¬ nomic reasons because the Imperial court was profiting by the short period of the peace treaty of Pressburg (Bratislava 1805). The reasons are partly because of the reorganization of the army which was preparing the fourth campaign against Napoleon, and partly for further military expenditures, which altogether meant a heavy financial burden for the treasury. On the 14th ofjune 1815, Krommer was appointed "warden of the anteroom." After Leopold Ko£eluh's death he was ap¬ pointed court-composer and conductor of the court chamber music. Krommer happened to be the last court-composer, for when he died, this post was cancelled. Krommer accompan¬ ied the Emperor Francis I on his travels to Italy and France, and in both countries he was very much praised. Thus, in 1818, on the proposal of Anthony Reicha, he was appointed Honorary Member of the Conservatory in Paris and, later on, a Member of the Conservatory in Milan and also of the Phil¬ harmonic Society in Venice. In 1820 he made his appearance as conductor at the Congress in Opava. He died on the 8th of January, 1831 at the age of 72 in Vienna.

We all know Krommer's E-flatMajor Concerto, Op. 36 pub¬ lished in Czechoslovakia. One copy is also stocked in the ICS Library (the University of Maryland, number 860) but it is not Krommer's only clarinet solo composition. In 1980 I dis¬ covered Krommer's Clarinet Concerto, Op. 86 in E-minor in Brno (University Library shelf-mark St.Mus. 4-383.052). This concerto was originally composed for flute; however, J. Kiiffner made an arrangement for A-clarinet with Krommer's approval, and this version was published by An¬ dre, Offenbach. It has been recently published in a modern edition by Musica Rara with orchestral material on hire.

You may find it interesting that I also discovered a clarinet

version of Krommer's Oboe Concerto, Op. 52 in the same li¬ brary (shelf-mark St.Mus. 4-357.106). I suppose that the ar¬ rangement was done by J. Kiiffner, too. I am not certain if this concerto (Op. 52) has ever been played in the clarinet ver¬ sion, but it is well known as a masterpiece of oboe repertory. The arrangement I have found is excellent using the possibili¬ ties of the clarinet range to its full extent, especially in its lower register.

Some years ago Musica Rara published Krommer's Concer¬ to for Two Clarinets in E-flat Major, Op. 35. We all know that this double concerto is excellent, but the less-known Concerto for Two Clarinets, Op. 91 does not lag far behind the Opus 35. I personally prefer the Opus 91 because I have studied it many times with my students. In 1985 Musica Rara is planning to publish Opus 91 in a modern edition with orchestral material on hire. This composition was recorded byj. Lupta£ik and V. Cve£ka by Bratislava Radio in 1978.

The six concertinos occupy an interesting place in Krom¬ mer's work but only Opp. 70 and 80 are with clarinet. Con¬ certinos were originally composed for nine instruments as chamber music. When I discovered Concertino, Op. 70 in 1979 in the Prague National Museum (shelf-mark XI-E-240), I worked it up as chamber music, but I was not satisfied with it. In 1979 I worked up the new score into a form of Sinfonia concertante for flute, clarinet and violin solo with the accompani¬ ment of strings and two horns. In this form both concertinos were recorded by the Czechoslovakia Radio with great suc¬ cess. Musica Rara is preparing to publish both concertinos with piano reduction as well as with orchestral material on hire. WU^o ^ Movement I

ftc f \ 1" [Fyyfr

. Movement II MCiliano <.

(ft; ^ ^

Alk^o Movement III

Concertino in E-flat Major, Op. 80 for clarinet and orchestra

In 1977, when I was looking for Krommer's Concertino, Op. 80, I discovered that a quite unknown Krommer Concertino in E-flat Major for clarinet had been stocked under its shelf-mark. This composition had not been marked with an opus number but we know that Krommer numbered only those composi¬ tions that were designed for publishing. Of course, I am not quite sure about Krommer's authorship. However, I can only judge it from the way he develops the solo part and the orches¬ tral instrumentation, both of which show Krommer's typical features (fl, 2 ob, 2 fg, 2 cor, 2 tr, archi.) Concertino has three movements which are played without a pause between move¬ ments.

It is possible that some of you have come across this compo¬ sition somewhere in Europe because Krommer was a travel¬ ing composer, and his compositions are kept in many places throughout Europe. Time may reveal more details about this composition, or it may eventually be published.

About the writer... Bohumir Koukal is the Solo Clarinetist in the Opera Orches¬ tra in Olomouc, Czechoslovakia and serves as a part-time teacher at thejana£ek Academy of Music in Brno.

Bohumir Koukal

18 — The Clarinet

Debussy's works for clarinet — Part II

By Dennis Nygren

Premiere Rhapsodic: Textual Discrepancies and Errata

The attempt to piece together a "definitive" score of a composition by Claude Debussy may present many prob¬ lems for the investigator. Frequently, as is the case with the Rhapsodic, there are many sources which must be examined. In my research, I scrutinized microfilm copies of the clarinet/piano and orchestral autographs,1 plus the Durand and Leipzig Peters editions of both versions of the piece. I found many inconsistencies and concluded that, at least with some of his compositions, Debussy was not nearly as meticu¬ lous in proofreading and correcting his manuscripts and printed editions as he was in the actual composition process. In his dissertation titled "The Later Style of Claude De¬ bussy," Raymond Roy Park notes:

... in some compositions, there are irregularities in rhyth¬ mic notation and in phrase markings: some notes lack dots or other signs to indicate accurately their precise value, and some phrasing is not consistent. In addition, misprints and omissions of accidentals have been noted in some scores.2

On the basis of my research, I believe that neither of the autograph scores nor any of the printed editions (including the more recently edited Leipzig Peters versions) are entirely reliable. I would recommend the following changes in the fa¬ miliar Durand clarinet part. These may be divided into two areas: (A) those which correct obvious oversights or printing errors, and (B) those corrections which seem logical from a musical viewpoint, in passages where the sources are un¬ clear.

7. 8 mm. before [7] (m. 104): the rhythm should read:

8. 2 mm. after [7] (m. 113): add a slur to the final 16th notes (A-flat/C, upbeat of two).

9. 6 mm. before [9] (mm. 146-147): the diminuendo wedge should be indicated throughout both measures.

10. 1 and 3 mm. after [10] (mm. 163, 165): add a dot (for an articulated release) under the A-flat (beat three).

11. 4 mm. after [10] (m. 166): replace the diminuendo wedge with a crescendo wedge (beat one).

12. 1 m. before [12] (m. 196): continue the crescendo wedge from mm. 194-195 through m. 196.

13. 6 mm. after [12] (m. 202): a tenuto mark should appear with the martele accent on E-natural (beats one and two), as follows:

v

Also, an additional beam should be added to the run on beat three (to make 64th notes).

14. 8 mm. after [12] (m. 204): add a tenuto mark under the martele accent, as follows: i

r

15. 9 mm. after [12] (m. 205): add a dot (for duration) to make a dotted half note.

A. Obvious textual corrections in the Durand clarinet part

1. 8 mm. after [1] (m. 18): the slur should extend over the E-flat (to beat two).

2. 8 mm. after [2] (m. 28): add a dot over the final 8th note (B, upbeat of four) indicating that it should be legato tongued.

3. 11 mm. after [2] (m. 31): add a dot (for duration) to make G-natural a dotted half note tied to a 16th note. Also, replace the dot over the G-natural with a tenuto mark, so that it appears as follows:

A*.

4. 4 mm. after [4] (m. 54): add a diminuendo wedge under the last three triplet 16th notes (G-E-B, upbeat of four).

5. 1 m. before [5] (m. 57): the rhythm of beat four should

(rather than 32nd notes).

6. 4 mm. after [5] (m. 61): add a diminuendo wedge under beats two and three.

B. Logical textual corrections in the Durand clarinet part

1. 3 mm. after [1] (m. 13): to be consistent with the same returning note figures in mm. 42 and 154, the entire measure should be slurred.

2. 3 and 2 mm. before [2] (mm. 18-19): a slur should con¬ nect the E-flat to the B-flat on beat three (as in the Durand piano score). This allows for both a smoother legato, and a more effective crescendo in m. 18.

3. 4 mm. after [3] (m. 43): to be consistent with mm. 14 and 155, the slur should extend through the entire measure to the C (as it appears in the clarinet/piano autograph).

4. 1 and 2 mm. after [5] (mm. 58-59): according to the or¬ chestral autograph and the Durand full score, the ar¬ ticulation of beat one should read:

(with the third 16th note lightly released).

5. 14 mm. before [7] (m. 98): using the orchestral manuscript and editions, the shape of the phrase, and the dynamics of m. 102 as guides, the deletion of the p in m. 98 is recommended.

6. 11 mm. before and 2 mm. after [7] (mm. 101 and 113): by comparing mm. 170 and 174 to these measures, it may be assumed that Debussy intended C naturals (not

The Clarinet — 19

C flats) as the final 16th notes of these measures. He probably forgot the accidentals.

Two further examples in question are (1) the tempo at [6] (m. 84) and (2) the notation in m. 201 (5 mm. after [12]). Concerning the first problem, Debussy specified a tempo (moderement anime) at [6]; this marking clearly designates the same tempo as [5], 4 =72. The composer's indication for the following scherzando is meme mouvt, 4=4. This rather slow tempo, however, seems totally out of character for the scher¬ zando section, which most performers choose to play con¬ siderably faster.

I compared eleven recorded performances (from the early Hamelin disc to a recent performance by Pieterson/Haitink) and discovered that none of the conductors/performers followed Debussy's tempo marking in the scherzando. At m. 92, tempos ranged from «l =ca. 96 (Gigliotti/Ormandy) to d =ca. 120 (Dangain/Martinon, Deplus/Constant). The recordings demonstrate three basic approaches to this tempo discrepancy: (1) to play [5] at a considerably faster tempo than marked, thus minimizing the contrast between [5] and the scherzando (e.g., Brymer/ Prohaska); (2) to use the sec¬ tion at [6] as a tempo bridge somewhere between the tempos of [5] and m. 92 (e.g., Dangain/ Martinon); or (3) to per¬ form [5] at about the tempo indicated, but to play both [6] and m. 92 at about the same tempo as m. 45, Le double plus vite (d =ca. 96-108) (e.g., Gigliotti/Ormandy). I prefer this third approach because the slower tempo at [5] (d = 72) allows the subtle dynamic, harmonic, and rhythmic nuances of mm. 58-65 to be discernible, and, by beginning [6] (m. 84) at the faster scherzando tempo, the "hint" of the scher¬ zando theme in the piano (or flute) at mm. 86-87 is at the tempo of the scherzando itself.

The final discrepancy in the clarinet part is that of the con¬ troversial notation in m. 201 (5 mm. after [12]). Example 1 displays this measure as it appears in (1) the clarinet/piano autograph, (2) the Durand clarinet/piano edition, (3) the or¬ chestral autograph, and (4) the Durand orchestral score. Note that in three of the four examples the first two notes of the triplet on beat three are notated written D-sharp/E- natural; only in the earlier Durand print (2), first published in 1910, does the pattern appear as it has been played by most clarinetists over the last seventy-plus years (D-natural/E-flat). Which notation represents the composer's intention?

Certainly a long-standing tradition has been established to perform the work with the written D-natural/E-flat notation. The initial performances during the July, 1910 concours at the Conservatoire were played from the Durand clarinet part.3

Two brilliant clarinetists — Gaston Hamelin and Louis Cahuzac — who reportedly knew Debussy and played the Rhapsodie with him, played m. 201 with the concert C-natural/D-flat. (They also changed little, if any, of the rest of the score.)4 In addition, all but three of the many record¬ ings heard by this investigator are performed similarly.

A strong argument, however, could be made for the writ¬ ten D-sharp/E-natural notation, as it appears in both auto¬ graphs and the Durand orchestral score. Debussy had Dur¬ and send him a copy of the Rhapsodie (logically, the clarinet/- piano edition, rather than the autograph), so that he could complete the orchestration while vacationing in August, 1911. Why would the composer change the notation in his orchestral autograph from the way it appears in the printed clarinet/piano edition, if not to correct an error? It also seems unlikely that Debussy made the same mistake in both autographs.

One could also support this notation for purely musical reasons. D-sharp/E-natural/G is the inversion of the last three notes of the primary motive or cell of the composition (first stated in the piano, mm. 1-2).5 This exact cellular var¬ iant appears in the score many times, most notably in the clarinet in the cedez, m. 123, and enharmonically spelled (E-flat/F-flat/G) in m. 203. (See Example 2)

Recordings by Robert Gugholz/Ernest Ansermet, Ger- vase de Peyer/Pierre Boulez and Serge Dangain/Louise de Froment are performed with the D-sharp/E-natural nota¬ tion. Other clarinetists who have expressed support for this notation include Robert Marcellus (who performed the Rhapsodie in this manner with the Cleveland Orchestra and Pierre Boulez), Lyle Merriman, Keith Wilson, and David Weber.6

I believe that the D-sharp/E-natural notation represents Debussy's intentions, but I am puzzled by the fact that Hamelin, Cahuzac, and perhaps Mimart (to whom the work was dedicated) played m. 201 as it still appears in the Dur¬ and clarinet part. Perhaps further research will uncover either a second clarinet/piano manuscript or a first edition proof with corrections in Debussy's hand which will alleviate any controversy. The Premiere Rhapsodie must be considered a masterpiece within the clarinet repertoire, with or without

EXAMPLE 1 (i) (2) > > >

(3) (4)

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j f > > > —■-j' > > >

EXAMPLE 2

Copyright 1910 Durand et Cie Uaed By Permission Of The Publisher Theodore Presser Coopany Sole Representative U.S.A.

m. 203 au Mouv*

£ *

m

20 — The Clarinet

alterations. I am, however in complete agreement with Ed¬ ward Lockspeiser who writes:

... the corrections to both his manuscript and printed works... this enquiry into the whole matter of Debussy's manuscripts is itself a subject of the first importance.7

The following list contains significant corrections in the piano part of the Durand edition. There are, in addition, a number of important corrections to be made in the Durand orchestral score and parts; these are included within my dis¬ sertation on pages 142 through 144.

Corrections in the Durand piano part

1. 2 mm. after [4] (m. 52): right hand, bottom line, beat three: add a natural to D.

2. 4 mm. after [4] (m. 54): left hand, beat one: a sharp should be placed before C (rather than before D).

3. 10 and 9 mm. before [6] (mm. 74-75): right hand, beat three: all sources incidate a D-natural in the top voice. Despite the charm of this harmony as notated, the vast majority of conductors (e.g., Ansermet, Boulez, Coppo¬ la, Martinon, etc.) have changed it to a D-sharp to agree with the pitch an octave lower and to function as a leading-tone of E major.

4. 4 mm. before [10] (m. 159): right hand: add a double- flat sign to the lowest A.

5. 2 and 1 mm. before [12] (mm. 195-196): a crescendo wedge should appear throughout both measures (as in the orchestral sources).

6. 6 mm. after [12] (m. 202): add connecting ties from m. 201 in left hand. The pianist should note that the 32nd notes of the clarinet (beat three) should be 64th notes to accommodate one beat; Debussy desired a flexible tem¬ po in this run, as he indicated "colla parto del clarinetto" in the cymbal roll of the orchestral score.

7. 7 mm. after [12] (m. 203): the chord should be marked martele accent/tenuto (—) (as in the orchestral sources).

About the writer... Dennis Nygren holds a Master of Music degree from Mi¬

chigan State University and Bachelor and Doctor of Music degrees from Northwestern University. Formerly a soloist with the NORAD Band and a faculty member at Northern Michigan University, Dr. Nygren is currently Associate Professor of Clarinet at Kent State University, Kent, Ohio. He is in demand as a soloist, recitalist, and clinician, and is a member of the Kent Wind Quintet. His teachers include Jack Snavely, Glenn Bowen, Jerome Stowell, Elsa Ludewig, Keith Stein, Larry Combs, Clark Brody, and most recently, Robert Marcellus.

ENDNOTES

1. Located in the Bibliotheque nationale, the clarinet/piano auto¬ graph is Ms. 1002, the orchestral autograph Ms. 1003A.

2. Raymond Roy Park, "The Later Style of Claude Debussy" (Ph.D dissertation, University of Michigan, 1967), p. 109.

3. Letter from Guy Deplus to Dennis Nygren, November 21, 1980.

4. This information according to former students of Hamelin, Harry R. Gee and Georgina Dobree. Letters to Dennis Ny¬ gren of November 17, 1981, March 21, 1982. Information on Cahuzac from David Weber (phone conversation, April 27, 1982) and letter from Guy Deplus, July 15, 1982.

5. For analysis, see pp. 13-20 of author's dissertation. 6. Lessons taken by Dennis Nygren from Robert Marcellus,

1976-1977; Lyle Merriman, "Debussy Premiere Rhapsodic," Woodwind World (April 1966), p. 5; letter from Keith Wilson to Dennis Nygren, May 16, 1984; David Weber (phone conver¬ sation).

7. Edward Lockspeiser, Debussy: His Life and Mind (New York: MacMillan Co., 1965), 2:245.

I

vertical pressure I

not horizontal as I

other ligatures |

exclusive side shoulders * S

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

PLaza 3-7111 4318 MAIN

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The Clarinet — 21

22 — The Clarinet

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OTHER CONTEMPORARY CLARINET TECHNEQUES ENDORSED BY: F. Gerard Errante, Phillip Rehfeldl, William O. Smith, El*a Lod«wig-Verdehr by GeraUl Farmer $16.95

CLARINET MASTER CLASS with Allen Siget

Master Lessons & Etudes Based on Six Solo Works by MOZART, WEBER, SPOHR, BRAHMS

ENDORSED BY: Mitchell Lurie & Leon Russianoff by Allen Siget $12.00

mo NEW COMPOSITIONS BY SMITH 1 ERRANTE

JAZZ SET for SOLO CLARINET by William 0. Smith $7.50

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(one performer) by F. Gerard Errante $6.50

Please Include Check with Order and $1.50 for Mailing Expense NY State Residents Include 7% Sales Tax

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The Clarinet — 23

Announcements

Beck to lead Navy band

Cmdr. Allen E. Beck became leader of the United States Navy Band at change-of-command ceremonies held at the Washington (D.C.) Navy Yard on November 30, 1984.

He relieved Cmdr. Joseph Phillips, who will become di¬ rector of the Navy's entire music program.

A native of Defiance, Ohio, Cmdr. Beck twice earned a first chair position in the "All Ohio Boy's Band" while a stu¬ dent at Defiance High School, and performed with the famed Eastman Wind Ensemble while studying at the East¬ man School of Music in Rochester, New York. He also per¬ formed under the batons of Dr. Frederick Fennell and Dr. Howard Hanson.

During his 27-year naval career, Cmdr. Beck has served with the Navy Band as clarinetist and assistant leader. Most recently, he was leader of the U.S. Naval Academy Band in Annapolis, Maryland.

Cmdr. Beck becomes the seventh leader in the sixty-year history of the Navy's premier musical organization. His first major performance as leader was at the band's Christmas Concert on December 16 at Constitution Hall in Washing¬ ton.

Aaholm announces research project

TO: Members of the International Clarinet Society FROM: Philip E. Aaholm, Professor of Clarinet, School of Music, University of Colorado, Boulder, Colorado 80309.

Recently, University Microfilms International, located in Ann Arbor, Michigan, announced that they had developed a dissertations database which currently contains over 800,000 dissertations dating back to 1861. Many of you may have re¬ ceived a subject (music) catalog from them this past spring. Though there is a topic heading "Winds and Percussion" this catalog is far from complete for our needs as clarinetists. University Microfilms, as you know, is primarily for PhD, DMA, and EdD dissertations and very few, if any, Master's theses.

I am currently working on a database program which, I hope, will become an information center for clarinetists world-wide. My purpose in this will be to share with the rea¬ dership of The Clarinet and with other correspondents, infor¬ mation concerning theses and dissertations, both completed and in progress, dealing solely with the clarinet.

There are many ways to set up a database program, but I am currently going to use the following topics as subject headings:

• History • Repertoire • Pedagogy • Acoustics • Reeds and Mouthpieces • Instrument Care and Repair • Jazz • Other (it leaves room in the program for more

headings). Included in the entry will be the author's name, degree,

degree date, institution, where a copy of the thesis or disser¬ tation may be obtained, title of same, and number of pages. It will be the responsibility of the author to provide an ab¬ stract (limited to no more than sixty words) much like that found in RILM (International Repertory of Music Litera¬ ture).

Cmdr. Allen E. Beck

As this project grows listings will occasionally appear as a column in The Clarinet.

A project of this magnitude will not be successful if I do not receive information regarding theses and dissertations, however. Therefore, I am asking, and will continue to soli¬ cit, information from those teachers in our profession that will make this "catalog of information" both meaningful and helpful.

Newsletter available free

to DeFranco fans

The Buddy DeFranco Newsletter exists solely for the pur¬ pose of informing Buddy's fans of his performance schedule, of his record releases, and other information of interest.

The Newsletter is published quarterly and is free for the ask¬ ing. Write:

Dr. John W. Kuehn 646 Grant Street

Indiana, PA 15701

Concours Acanthes winners announced The International Concours Acanthes for the performance of

contemporary music was held in Paris September 24-29, 1984. The category for clarinet and piano was judged by I. Xenakis, President, C. Chaynes, G. Deplus, M. Arrignon, A. O. Popa, J. Villa-Rojo, C. Helffer, and M. F. Bucquet.

24 — The Clarinet

The first round of competition included twenty contes¬ tants from the U.S.A., Great Britain, Brazil, Switzerland, Japan, Australia, Finland, Italy, Hungary and France. The second round narrowed the field to nine competitors, and the final round included four clarinetists.

The winners were: First Prize, Claude Faucomprez (France); Second Prize, Heinrich Matzener (Switzerland); and Third Prize, Charles Neidich (U.S.A.). Other prize winners included Dominique Vidal (France), Christian Roca (France) and Paulo Sergio Cunha dos Santos (Brazil).

The Walter W. Naumburg Foundation

announces a major clarinet competition

The Walter W. Naumburg Foundation, Inc. in coopera¬ tion with the Atlantic Richfield Foundation announces a ma¬ jor clarinet competition for December 6-12, 1985. The com¬ petition is open to all musicians of every nationality residing in the United States. Competitors may not be under 20 years of age or more than 33 years of age as of December 1, 1985. First Prize will consist of a cash prize of $5,000, recital book¬ ings in New York and Washington and a recording contract. Second Prize will be $2,500, and Third Prize $1,000. For more details concerning required repertoire and application forms contact:

The Walter W. Naumburg Foundation, Inc. 144 West 66 Street

New York, NY 10023 Enclose a self-addressed stamped envelope.

Alpen Musikfest scheduled for June

Join other women musicians in a week of musical sharing and growth in the Colorado Rocky Mountains. The second annual Alpen Musikfest, scheduled for June 16-23 in Estes Park, Colorado, will feature a 35-40 member Wind Ensem¬ ble, with chamber ensembles formed from the major group. Works by women are being sought to be included on the con¬ certs at the culmination of the week. The deadline for appli¬ cations and taped auditions is April 1. For further informa¬ tion contact Jane Frasier, 1221 Downing #3, Denver, CO 80218. Phone (303) 861-4306.

Date set for Arizona symposium

The Arizona Clarinet Symposium will be held on the Uni¬ versity of Arizona campus in Tucson on June 17-19, 1985. The event will feature James M. Pyne, and will include per¬ formance master classes with Mr. Pyne and hands-on de¬ monstrations with mouthpieces and related acoustical influ¬ ences. The sessions will feature solo and chamber recitals by symposium faculty.

James Pyne has performed with the Buffalo Philharmonic Orchestra since he was seventeen, and is currently the or¬ chestra's Principal Clarinetist. He is highly sought after as a teacher: he now teaches at the Cleveland Institute and re¬ cently served as Visiting Professor of Clarinet at the Univer¬ sity of Michigan.

Clarinetists interested in attending or performing for mas¬ ter classes may contact Charles West, Professor of Clarinet, School of Music, The University of Arizona, Tucson, AZ 85721, for information and applications.

UNIVERSITY OF OKLAHOMA

CLARINET SYMPOSIUM

July 12, 13, 14, 1985

Recitals — Lectures

Open Master Classes

— ARTIST FACULTY — STANLEY HASTY, Professor of Clarinet at Eastman School of

Music MITCHELL LURIE, noted recording artist and pedagogue PATRICIA KOSTAK HUEBNER, Professor of Clarinet at the Uni¬

versity of Missouri (Kansas City) CHARLES WEST, Professor of Clarient at University of Arizona

at Tucson, Arizona DAVID ETHERIDGE, professor of clarinet at Oklahoma Uni¬

versity, author of Mozart's Clarinet Concerto, and vice presi¬ dent of the International Clarinet Society

— PROGRAM FORMAT — RECITALS — Presented by each of the five individuals on

the artist faculty OPEN MASTER CLASSES — Presented by Stanley Hasty, Mit¬

chell Lurie and Charles West. Participants may choose to per¬ form material of their choice for one or more of these three in¬ dividuals in informal master classes viewed by the remaining participants. Those who perform may play solos, etudes or or¬ chestral excerpts.

LECTURES — Presented by each of the artist faculty on topics of interest to all clarinetists.

One hour University Credit possible with enrollment in MuEd 5970 at an additional fee.

— REGISTRATION FEE — $65. for those registering before July 1 $75. at the beginning of the symposium HOUSING: $20.00 per night single occupancy, $13.50 per

night double occupancy. University of Oklahoma Walker Tow¬ er Residence Halls. Those wishing to stay in residence halls register and pay at Walker Tower.

FOR FURTHER INFORMATION AND ENROLLMENT, CONTACT: Dr. David Etheridge, Symposium Coordinator

School of Music, University of Oklahoina, Norman, OK 73019

University of Oklahoma Clarinet Symposium — REGISTRATION —

Name

Address Phone ^ \

City State Zip

Housing Needs: CH Single Room ($20.00 per night) □ Double Room ($13.50 per night)

Number of nights I will arrive

□ I wish to participate in a master class

I will play:

Make checks payable to: School of Music, University of Oklahoma

The Clarinet — 25

ICS members' activities

Luis Rossi

Luis Rossi, newly named National Chairman for Chili and Principal Clarinet in the Philharmonic Orches¬ tra of Santiago, has undertaken a project that many clarinet players think about doing, but few attempt — making his own clarinet! Claiming not to be a craftsman, but developing the skills of using a lathe and other tools over many years, he has devel¬ oped a one-piece instrument made of Dalbergia Retusa wood which he left

in its natural color. Some of the design features include: a non-cylindrical large bore (narrower in the middle of the body with a flair near the bell); a throat B-flat mechanism similar to the Schmidt design of 1912 and that used on Wur- litzer's Reform Boehm model; a vent for the B/F-sharp/ E-flat mechanism like the Boosey & Hawkes 1010; repositioned trill keys on the upper joint for better tone, intonation and out of the way of condensation; a repositioned E/B key (left hand little finger); and better placement of the C-sharp/ G-sharp. Rossi acknowledges the assistance provided by London's John McCaw, with whom he studied. The Chilian clarinetist reports that he has been playing on the instrument since August of 1984 and that it "sounds very full and alive."

in,

26 — The Clarinet

Clarinet talk

The importance of rest

By Arthur Henry Christmann

"Now you are going to have a nice long vacation, and you can do lots of extra work and practice. You'll have lots of time." How many of you have not heard this or something similar just before a very welcome Christmas or Easter-spring vacation. How wrong such teachers are! Vacation should be a time for rest, a time to mend the frazzled nerves, to relax and let the mind slowly sort out what has been stored up in many overworked weeks or months. (Of course, one will need to ad¬ mit that for many who have fallen behind in their daily work, a vacation must, of necessity, be used to try to catch up.) How¬ ever, the idea of assigning extra work because the student will have more leisure is a glaring error, and shows a complete misunderstanding of just what vacations are for. Personally, I have never assigned my students extra work over a vacation period. I have always advised them to forget about the clarinet at least for a few days out of their vacation and to go rather easy on practicing for the rest of the time. I regard this period of rest as very important in the development of a performer. (That is, of course, assuming that he or she has worked very hard during the period when he or she was working.) There are those who are so lazy that they have nothing from which to rest, and for such this advice does not apply.

It has always seemed to me that intensive study is like a wounding of the brain. When the brain is sufficiently "wounded" it needs time to heal, and, wonder of wonders, after it has "healed" it is stronger than before in that particu¬ lar area or skill. Vacations provide such periods of healing and, I believe, are very important in the development of the individual's playing. The great early Harvard philosopher- psychologist, William James, has written on this subject and has given us a very apt way to think about it. In one of his psy¬ chology books he has written, "We learn to skate in summer and swim in winter."

This principle is really very important. One must work hard, and then have release from work in order to let the full effect of the work mature. The principle holds even for day by day practice. A day in which intensive work alternates with significant periods of rest gives much better progress than a day filled entirely by practice. This law is recognized even in in¬ dustry. The factory or office worker is given coffee breaks and tea breaks not so much to enjoy his or her coffee or tea, but to give the mind a rest from a monotonousjob. It is assumed that he or she will return to it with increased accuracy, and, to be hoped, greater interest. Without such breaks, I am sure that there would be many more errors in the workplace. It is strange that so many music teachers do not realize this.

I trust that I will be pardoned for again bringing my person¬ al experience into the discussion. I play several instruments reasonably well, and when one does this, he cannot always be absolutely just in the amount of time allotted to a particular in¬ strument. There are times when I must let one or the other go in order to concentrate on one in particular. The proverbial wisdom says that those let go will suffer materially from the neglect. I have never found this to be true. On returning to a neglected instrument, I have usually found that, perhaps after a day or two of warmup, it goes better than ever.

In line with the same argument, I can offer two other specif¬ ic fields of testimony. We have a small summer place on an is¬ land off the coast of Nova Scotia. There we have no piano. While there, I practice clarinet, violin, and occasionally a lit¬ tle flute (not for doubling, but to experience the excellent flute literature). One would imagine that my piano playing would suffer greatly after an entire summer of neglect. This has nev¬ er proved to be the case. On getting back to the piano in the

fall, it goes as well as ever and sometimes a bit better. During my mature life, we have made nine all-summer

trips to Europe. One of these was part of a six-month sabbati¬ cal in which, like the summers, I played no music on any in¬ strument. I can honestly say that on returning in the fall my playing never suffered at all on any of the instruments which I try to keep up. On clarinet, a day or two might have been ne¬ cessary to get the reed into condition, but after that I seemed to play as well or better than ever.

After all this, one may ask about the long summer vacations which occur during every school year. My answer to that is certainly that each person must make an individual schedule, a contract with himself or herself as to just how much practic¬ ing is to be done during the long rest from school. I suggest that it be a sizeable amount in order to maintain progress, but not enough to be burdonsome. However, I suggest also that each person consciously choose a period of at least two weeks during this long vacation to get away from practice completely and rest the mind, think of other things.

The Germans have a wonderful word to describe this. The word is Erholung. Literally it suggests recovery, rest, relaxa¬ tion, recreation, but subtly it has other shades of meaning such as that expressed by that other German word which is so well known even to non-German-speaking people, Gemutlich- keit. Gemutlichkeit implies comfort, leisureliness, freedom from care, time to meditate and, in the words of the Anglican Prayerbook, "enjoy that peace which the world cannot give.'' To be more accurate in the present case, let us say, "that peace which the world seldom gives."

Naturally, there are individual differences. Some people really must stay with their instruments more than others, and lose more when they are away from them for a period. It is said that Paganini could put his violin in the trunk for an en¬ tire summer and, first thing in the fall, play just as well as ever. For the great French-American flutist, Georges Barrere, this was also true. However, the principle is still the same. Hard work, set off by significant periods of rest, gives much better returns to anyone than does an unvarying period of strenuous application.

Classified advertising All ads submitted for The Clarinet should be: 1. Typewritten, double spaced 2. As concisely worded as possible 3. Non-commercial in nature and limited to the sale and trade of

personally owned instruments, music, accessories, etc. 4. Submitted to the Editor by the deadlines given on the ICS offi¬

cers page 2. 5. Placed by members of the I. C. S. only. Each ad will run only one issue unless the Editor is otherwise advised.

WANTED... A copy of the Richard H. Walthew Quintet in E-Jlat for B-flat clarinet and string quartet. The quintet was never published but is in manu¬ script. Also, a copy of the Walthew Trio in C-minor for clarinet, violin and piano. Published by Boosey and Co., London, 1897.

Any information about these works or copies of them will be greatly appreciated. Please contact:

Jerry Pierce 4611 Mounds Road

Anderson, Indiana 46013.

The Clarinet — 27

Tennessee Technological University Department of Music

presents mm GRACE WILCOX, clarinet

SENIOR RECITAL assisted by

Patricia Brahistedt, piano Anna Mowell, flute

Dessa Burnette, cello

Concert Auditorium Bryan Fine Arts Building

PROGRAM Adagio

Mrs. Brahmstedt, pia Divertimento No. 4 in Bb Major

Allegro Larghetto Menuetto Adagio Rondo

INTERMISSION - Three Miniatures

A1 legro Andante cantabile Allegro ma non troppo

W. A. Mozart

K. Penderecki

Mrs. Brahmstedt, pia Rhapsodic

Mrs. Brahmstedt, pia

There will be a reception following the

NEW YORK UNIVERSITY

SCHOOL OF EDUCATION, HEALTH, NURSING, AND ARTS PROFESSIONS

MUSIC AND MUSIC EDUCATION

* * * ERLAND NORDSTROM * * *

SHENANDOAH CONSERVATORY

SHENANDOAH WOODWIND QUINTET Franc-fs Linn Averitt, Flute Stephen Johnston, Clarinet Ctraig Matovi'h, Oboe David Cottrell, Horn Sharon Sparling Trent, Bassoon

Assisted by: Sue Boyd, Piano

S'jnda/, October 28, 1984

Quintet No.2 in D Minor Al legrc expressive Larghetto sostenuto

Q'jintet No.l (1955) Allegro

Quintet No.l Moderato non troppo Andinte, con espress Allegro vivaca Sextet for Piano and Winds (1962) Elegiac Prelude Scherzo Cortege Minuet and Trio Rondo with Epilogue

Goodson Chapel/Recital Hall

Giovanni Cambin

INTERMISSION

Kocsar Miklo

Gordon Jacob

Pre Iud i a Taneczne , . , . Witold Lutoslawski Att^gfio Motto Andante KCZzgAo giocoio Andante Atleg>io Motto Vier Stucke fur Kfarinette und Klavier, op. 5 ....... . Alban Berg

Sek* langtam Sehn. \a±ch Lang&am Sechs deutsche Lieder, op. 103 Louis Spohr

INTERMISSION Three Folksongs from the County of Csik Bela Bartok ftubato L'iAteA&o tempo Sonate pour Clarinette avec accompt de Piano, op. 167« • CtC. Saint*Saens Ategietto Atlegio animato

Motto Attegio Pocket-Size Sonata No. 2 Alec Templeton Medmato Menuetto Atteg-ietto

This recital is given in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Program 685A for solo performers. Monday, October 8, 1984 University Theater 8:00 P-1"- 35 West 4th Street

CONCERTS

&. RECITALS

rtETRoPoimw mEMoMM- uMHEO METrtOtiis-r cUURCU NEBRASKA AUts NtvJ rtEX\a) AVEMOC WASWIMGTCIJ. L.6.

WtMDi Allen viation)

A C-larinel ^kambe-r k'edi'fflf

Apr,I m. mh 4 00 P.M.

College of Music University of Colorado. Boulder

lay. October 22, 1984 FACULTY RECITAL

auf dem Felsen, op. 129 (1828) Capriccio (1979) Sonatina (1981)

Trio. op. 1U (1891)

Charles Eaki: oseph Horovit

Jill Cettinj. CdSSiihtfCy

j;*v LC£-

lUitk

StKuheri (nl7- HW)

JilocW-

M oiart (nsu-qi)

Ml?- •>

pan. soprafl Mute.

w;6\;^ V/iDlft-

Tw Uirt au^ dew Qp. 120 ■for cJ&viAfil, ai\A piaVo

Co(V££rti <10 fer Jar,net, Clistc, A«A pa«o

(Quift-tct, K.- 5?l ,

kie^ro rWdrtocirto

"]K£rft£. a ^ v/avi o.ti

Sonatfl- jfchT p»arvO

Grai l OS O AacI <*.r>tLV\0 \IWai-L. «- Ugtjioro

— The Clarinet

School

i0J

Music Unkvrsity of Wisconsin-Madison

THOMAS RIDENOHR, CLARINET ALAN LHRIE, PIANO

Sonate. B-tlwi, Op. 107

INTERMISSION QL£MN mien, Clarinet

CAMDLL OH LION, Piano JAntS snnn, Clarinet

in a

FACULTY RECITAL

Ih/iec InteAMczzJ., Op. f3 A1legro agitato Allegretto scherznado

Sunday, November 4, 1984 8:00 p.m.

Mills Concert Hall

Conce-tipiccc No. 2, Op. Hi

AT MARYWND

Thursday November 15, 1984 12:30 p.m. Tawes Recital Hall

MARYLAND CLARINET QUARTET rraan Heim Robert Petrella vid Chadwick Edward Walters

-PR 0 G R A M -

Erazhlung, Opus 56 Norman He Largo - Scherzo - Arabesque - Allegretto, Burlesque - Lento

Clarinet Quartet

Trio in E-flat, Opus 20, No. 2 Allegro vivace

Department ol Music University of Maryland College Park 20742 (301) 454-2501

la chaconne , >42 Ontario stjnontrcal sept. 21 st, 19,S i debussy, joplin

cahuzac, jean jean Schumann

QRADUAT& R£CITAL SERIES

THE

R A H E Y TRIO

HAXINE RAMEY, clarinet RICHARD RAMEY, bassoon

ANN NAGELL, piano

RECITAL HALL Friday, October 26, 1984

7:30 p.m.

North Texas State University School of Music

Graduate Recital MARK HOLtlNGSWORTH, Clarinet

Assisted by: Judy Fisher, Piano Donna Meinecke, Piano Dennis Houghton, Horn

Monday, October 29, 1984 5:00 p.m. Concert Hall Concerto for Clarinet in F Minor Opus 73 Carl Maria von Weber A1legro moderato

Rondo, allegro Soliloquies for Solo B-flat Clarinet Leslie Bassett Fast, aggressive, driving, dramatic Flowing, singing Fast, abrasive, contensious Slow, lyrical, expressive Suite for Clarinet and Piano Halsey Stevens A1 legretto Adagio Bucolico, pesante Moderate con moto Trio in B-flat Opus 274 for Clarinet, Horn and Piano Carl Reinecke Allegro A Tale, andante Scherzo, allegro Finale, allegro

Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts

> (1978) Byrt

Idaho Male In'iMTMl* Music Ikpartmei Pwatfllo. Idaho

ISU FACULTY CHAMBER ENSEMBLE

October 28, 1984 Goranson Hall

Sonata in F Majo Larqhetto A1leqro Siciliana

Sonata For Flute and Piano Poulenc Alleqro malinconico (1899-1963) Cantilena Presto qiocoso Three Etudes on Themes of Gershwin Harvey for unaccompanied clarinet I. I Got Rhythm II. Suirmertime III. It Ain't Necessarily So Nelson

Sonatine en Trio, Op. 85 for flute, clarinet and da Assez anime Assez vif Tres lent ISU FACULTY CHAMBER ENSEMBLE George Ferencz, keyboard Jane Ferencz, cello Patricia George, flute Alan Stanek, clarinet

The Clarinet — 29

Swiss kaleidoscope

By Bngitte Fnck, Arlesheim, Switzerland

Well ladies, we're really in fashion this winter. It looks like the clarinet is an important accessory for that extra special touch to your new outfit. If you don't have an Oehler system like the model in the picture, then I'm sure a Boehm system is just as smart. And if you want to complete the whole effect, the firm of Lancome has brought out a lipstick called rose clarinette. Fascinating, because I can't imagine what the con¬ nection is either between a rose and a clarinet, or a clarinet and the color pink, or lipstick and a clarinet. Maybe Lancome would like to branch out into manufacturing scented reeds? Actually, the lipstick isn't as silly as you may think. It's very creamy and a lovely muted pink, just suitable for covering up lips cracked by playing in the winter. (Sorry, gentlemen, you'll have to stick to the old Nivea!)

You wouldn't believe it, but I've found someone who knows all about that Bucchi mouthpiece. "Seek and you shall find." He was one of the many interesting colleagues whom I met at the London Clarinet Congress and his name is:

Michele Vincenzo Viale Tito Livio

u. 176 Rome, Italy

So, if you are really interested, write there. Mr. Vincenzo understands English.

I can't write this article without a couple of small stories from the London Congress. It is educative and often inspir¬ ing to hear so much music which is otherwise inaccessible, played by a broad spectrum of international artists; however, it is sometimes the personal and human contact which re¬ mains indelibly in one's mind. Three incidents will cause me to chuckle for many years to come. The first was rather em¬ barrassing. As I approached the outer door of the dormitory busily chatting, I saw out of the corner of my eye a poor clar¬ inetist trying to struggle out laden with large instrument cases. I rushed to hold the door and he gratefully said, "Merci vielmal." In genuine surprise I said, "Hey, where did you learn Swiss?" He gave me a funny look. The person with me was highly amused, because it had been Elmar Schmid of the Swiss Trio. I had forgotten they were there!! Then our American cousins were treated to the experience of authoritarian British "dinner ladies," who complained that we weren't eating enough sandwiches at teatime. In order to alleviate this grave situation, I carried out mounds of sticky morsels to the lovely ducks in the grounds of Grove House. It reminded me of my first clarinet teacher who used to call a sloppy attack in articulation a "duck-quack." Neither of these incidents, however, compared to the exquisite delight of hearing Josef Horak giving his imitation of a Tarzan call (mahrischer Urschrei) out in the quadrangle late at night, proving that diaphragmatic control has many uses and is not only confined to superb bass-clarinet technique. The Swiss contingent will never forget this experience, and would like to have it repeated on a mountaintop sometime.

Clariatrics... I don't have much space for Clariatric news this time due

to an over-supply of other information. How about your sight-reading? If you are lucky enough to find some people to

play with, chances are they bring along their music which you have difficulty playing, and you confront them with yours, which you have furiously practiced in order to make a good show. It's all good fun, but it might make life easier to obtain a copy of:

Sight Reading and Technique for Students, Teachers, Performers on Clarinet

Norman Baker Moorcroft Publications

11 Moorcroft Way Pinner

Middlesex HA5 1LA England

Last week, I went to a superb concert given by the Swiss Clarinet Players, one of the rare clarinet quartets in Switzer¬ land. The scenario was a graveyard chapel, but the program was far from sombre, ranging from Albinoni to Paul Har¬ vey. A particularly lively and, in parts, most lyrical work called Szenen aus Ungarn (Scenes from Hungary) was written spe¬ cially for the group. The quartet was able to work in close

30 — The Clarinet

Swiss Clarinet Players

collaboration with Ferenc Farkas during its composition. It is an exhilarating work musically speaking and appealing to audiences. To know more, contact the group through:

Andreas Ramseier Sulgenweg 45 CH 3007 Bern

Switzerland

The title on the Swiss Clarinet Player's publicity brochure states: "Never before in the Swiss Music Scene: a profes¬ sional quartet consisting of only clarinetists." Further quotes: "The contemporary composers A. Moschinger, P. Benary, H. Fries, H.P. Graf, A. Schweizer and F. Farkas have been inspired by this group's concert activity to com¬ pose new works for this genre. The Swiss Clarinet Players are a group of four young musicians all of whom studied clarinet with Professor Kurt Weber at the Bern Conserva¬ tory. They were finalists at the International Competition in Martigny and won first prize in the Swiss Chamber Music Competition. They have made radio broadcasts at home and abroad and concert engagements have included the Interna¬ tional Music Festival in Lucerne in 1980."

To illustrate the flexibility of the quartet, here are three extracts from modern works.

Zur Illustration der Vielseitigkeit sollen die drei folgenden AuszUge aus modernen Werken dienen:

Jesus Villa Rojo; Juegos Grafico, Musicales III - Estructuras I para cuatro Instrumentos de Madera

SWISS CLARINET PLAYERS

r- r.- r.. I A-

Fiir die SCP geschriebene Werke :

C. Diethelm W. Vogel A. Moeschinger iJ.L. Darbellay M. Flothuis A. Schweizer F. Farkas H.P. Graf

A. Harder L. Balmer F. Furrer-Miinch M. Wendel J. Steiger P. Benary H. Fries F. Tischhauser

Quartett op. 190 Trio Tra sforma z i oni Glanum Canzone Quartett-Aton Szenen aus Ungarn Quartett Jazz Time Suite Suite fiir Oboe und 3 Klarinetten Images sans cadre fiir Sopran und 4 Klar. Quintett fiir Klavier und 4 Klarinetten Ballett Kleine Kammermusik Serenade Morgenstern-Galgenlieder ohne Worte

Kompositionen fiir mehr als 4 Klarinetten

P. Sciortino R. Depraz R. Leibowitz R. Loucheur E. Bozza H. Searle

Exultrance, Sextett Sextuor Petite Suite pour sextuor op. 90 En Famille, Sextett Lucioles Divertimento for Clarinet Ensemble

Diverse Bearbeitungen von : Gepshwin, Mozart, Haydn, Bloch, Krenek

^~~CCr)jrp"

Enrico Renna; "Abwechseln" per clarinetto

The Clarinet — 31

MUSIK - MATURA - ARBEIT

1984

Christian Brbnnimann

17 tt-e <VV€-L*4

S" cuul v>t

SWISS CLARINET PLAYERS"

"SZENEN AUS UNGARN" von

FERENC FARKAS

3;

Eintrittspreise; Fr. 10- Fr. 7 - fur Mitglteder von Kultur in Reinach Fr. 5.- fiir AHV/IV-Bezuger, Lehrlinge etc. gratis fur Kinder bis 14 Jahre in Begleitung ihrer Eltern

David Glazer Editions

L. Spohr. Fantasy & Variations, Op 81 For Clarinet and Piano

(Also with band accompaniment) SOUTHERN MUSIC CO.

G. Rossini: Introduction, Theme & Variations For Clarinet and Piano

Also with band accompaniment OXFORD UNIVERSITY PRESS

W.A. Mozart: Divertimento K. 439B (K.A. 229) For Oboe, Clarinet and Bassoon

Originally for two clarinets and bassoon) OXFORD UNIVERSITY PRESS

I. Pleyel: Duets for 2 Clarinets Elementary Level — Books 1 and 2

OXFORD UNIVERSITY PRESS

G.F. Handel: Sonata Op. 1, No. 8 in C minor For Clarinet (Oboe) and Piano

ASSOCIATED MUSIC PUBLISHERS (G. Schirmer)

These editions may be ordered and purchased through your local music store or music dealer.

DAVID GLfiZER 25 Central Park West #18R, New York, NY 10023 (212) 757-1029

Hand-Woven

STRING LIGATURES

Press-Fit Enhance flexibility and warmth of tone.

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32 — The Clarinet

* 4 ^

Heinrich Matzener

Now let me introduce you to Heinrich Matzener, a 28-year-old Swiss clarinetist who won second prize in the ex¬ tremely difficult international "Acanthes" competition in Paris. First prize went to Claude Faucomprez and third to Charles Neidich who played Stockhausen's In Freundschaft.

Heinrich Matzener had eight pieces to play. Six of them compulsory: Brahms Sonata in F minor, Stravinsky, Berg, Boulez, Messiaen and Jarrell. Free choice was: Berio and Denisow. Quite a marathon as you can imagine.

Heinrich's elder brother played the clarinet and when Heinrich was small, he was always trying to play on it or take it away, so his brother had to keep the case locked. Plus ga change. Now Heinrich is the professional virtuoso and his brother no longer plays. At the age of sixteen, Heinrich al¬ ready knew he wanted to be a musician. He studied for his first diploma in Zurich with Hansjurg Leuthold and achieved his soloist diploma under Hans Rudolf Stalder in Basle.

At the moment he is occupied with a wind octet, Banda Classica (2 oboes, 2 clarinets, 2 bassoons, 2 horns), and they have won a prize from the city of Zurich. The money has to

be used for a composition, and Josef Haselbach, a Zurich composer has been commissioned to write a work for them incorporating a ballet. Like the quartet, the Banda Classica intends to work in close cooperation over the production of this piece. This will surely be an interesting addition to the repertoire, and if you want to know more write to:

Heinrich Matzener Freie strasse 40

CH 8032 Zurich Switzerland

He is very keen to exchange ideas and experiences with peo¬ ple outside Switzerland. Contemporary music is his speciali¬ ty, but he is also looking out for works for the trio composed of two clarinets and bass clarinet. Can anyone help?

It was interesting to hear Heinrich Matzener's compari¬ sons of competitions abroad with the ones he has entered here in Switzerland, particularly in Lugano. This has only been going for five years and is financed by a cigarette com¬ pany. It is open to residents in Switzerland up to the age of 35, although one does not have to be a Swiss national. In Paris people are dressed formally to fit the occassion. We agreed that "dressing up" is a form of mental and physical conditioning and commitment to performance. How differ¬ ent is Lugano where, although playing is of a high standard, competitors more or less come along with the cow-muck still on their shoes and the jeans they have been wearing for months. Why don't you bring your tent along, become a grubby "resident" and join them?


"0®®® ©©KKFUKIIK]©!;


Oberlin Ohio — July 22-26, 1985

The Clarinet — 33

Beethoven's chamber music involving clarinet

By Ricky Duhaime, Austin College The purpose of the present study is to present the known

circumstances surrounding the composition, initial perfor¬ mances, and first publication of each of Beethoven's cham¬ ber works which include clarinet. These compositions, com¬ ing from just before and some ten years after Beethoven's move from Bonn to Vienna, are highlighted by the Septet, Op. 20. The popularity of this particular work is reflected by the diversity of arrangements it underwent (authorized or not) as well as the numerous copies in circulation at the time. No other instrumental piece was to achieve its popular ac¬ ceptance during the composer's lifetime.1

The works are grouped in the following chronological or¬ der by date of composition, to the best information available. Immediately following the discussion of each work is a brief structural sketch and a discography of currently available re¬ cordings.

Duo No. 1 in C I

II III

Allegro commodo; 4/4; C; 113 mm.; sonata Larghetto sostenuto; 3/4; c; 34 mm.; attacca Rondo, Allegretto; 4/4; C; 100 mm.; rondo

Title/Key/Opus/Instrumentation

Duos, C, F, B-flat, WoO 27 cl., bsn.

Octet, E-flat, Op. 103 2 ob., 2 cl., 2 bsn., 2 hn.

Rondino, E-flat, WoO 25 2 ob., 2 cl., 2 bsn., 2 hn.

Sextet, E-flat, Op. 71 2 cl., 2 bsn., 2 hn.

Quintet, E-flat, Op. 16 pf., ob., cl., bsn., hn.

Trio, B-flat, Op. 11 pf., cl./vln., vc.

Septet, E-flat, Op. 20 cl., bsn., hn., vln., va., vc., db.

Trio, E-flat, Op. 38 pf., cl., vc.

Composition Date

prior to move to Vienna in 1792

1792-93

1792-93

1796 (-1805?)

1797 (1796?)

1798 (1797?)

1799-1800

1803

Duos, C, F, B-flat, WoO 27 clarinet, bassoon

While the exact date of composition is unknown, most sources agree that the Duos are early works and, like the Octet, Op. 103, and Rondino, WoO 25, probably date from the time around Beethoven's move to Vienna in 1792.2 The clear, succinct, Classical treatment of form, especially of the movements in sonata form, would support this dating. The Duos were first published in Paris by Lefort in 1810.

Structurally, the first two duos are identical. Each con¬ tains three movements, the first of which is a sonata form, the second an aria, and the last a rondo. Their similar struc¬ ture is further demonstrated by the same attacca connection between the second and third movements and by the similar use of a minor section in each of the rondos. The third duo, similar in content to its two predecessors, is arranged slightly differently. The first movement is in sonata form, but the last two movements become one, with the aria section serv¬ ing as a presentation of a theme which is followed by a set of four variations with a finale. Because of the keys in which the works are set, clarinet in C was originally designated for the first two duos and clarinet in B-flat for the third.

Beethoven is not known to have made any arrangements of the Duos for other instrumental combinations.

Duo No. 2 in F I Allegro affettuoso; 4/4; F; 119 mm.; sonata

II Aria, Larghetto; 3/4; d; 22 mm.; attacca III Rondo, Allegretto moderato; 2/4; F; 140 mm. (plus 28

mm. D.S.)

Duo No. 3 in B-flat I Allegro sostenuto; 4/4; B-flat; 133 mm.; sonata

II Aria con variazioni, Andantino con moto; 2/4; B-flat; 16 mm. var. 1 — 2/4; B-flat; 16 mm. var. 2 — 2/4; B-flat; 16 mm. var. 3 — 2/4; B-flat; 16 mm. var. 4 — 2/4; B-flat; 16 mm. plus 5 mm. of transition Allegro assai; 6/8; B-flat; 31 mm.; finale of variations

Available Recordings Complete:

Ricci, Virizlay (vln., vc.) Orion 7295 Lancelot, Hongne Vox SVBX - 580 Norwegian Chamber Soloists Seraphim 81011 Zukovsky, Breidenthal Avant 1011

Nos. 1, 3: Kovacz, Fiilemile Hungaroton 11565

No. 3: Consortium Classicum Telefunken 6.42416 AW Tschech. Philh. Prag Barenreiter-Musicaphon

Kassel 1230 Campbell, McKay Golden Crest 4217

Octet, E-flat, Op. 103 2 oboes, 2 clarinets, 2 bassoons, 2 horns

The Octet, Op. 103, was most likely composed in 1792 for the dinner orchestra of Maximilian Franz, youngest son of the Empress Maria Theresa and, from 1784, the last Elector in Bonn. Unlike earlier Classical models, however, this is not merely Tafelmusik but is music "for a concert" as the manuscript, in Beethoven's hand, indicates: "Parthia/dans un Concert, in Es/a/Due Oboe/Due Clarinetti/Due Corni/ Due Fagotti/Di L. v. Beethoven."3

In 1796 the Octet appeared in Vienna as one of Beethoven's first published works, in his own adaptation as the String Quintet, Op. 4. The original wind version was found among the composer's effects after his death and first published in Vienna in 1830, with neither the manuscript nor the posthumous first edition bearing an opus number. The 103 numbering appeared for the first time in a Breitkopf & Hartel catalogue published in 1851.

Octet in E-flat, Op. 103 I Allegro; (p; E-flat; 196 mm.; sonata

34 — The Clarinet

II Andante; 6/8; B-flat; 127 mm.; ternary design III Menuetto; 3/4; E-flat, 80 mm. (menuetto); E-flat, 36

mm. (trio) IV Finale, Presto; (£; E-flat; 223 mm.; rondo

Available Recordings Berlin Philh Deutsche Grammophon 2721 192 IMS Netherlands Wind Ensemble Philips 95 000 87 Paris Wind Ensemble Nonesuch 71054 Schnell, Keller Octet Vox SVBX - 580

Rondino, E-flat, WoO 25 2 oboes, 2 clarinets, 2 bassoons, 2 horns

Originally designated simply as Rondo, this single- movement work was probably completed 1792-93 for Maxi¬ milian Franz, Elector of Bonn, and may have initially been intended as a shorter, technically easier, alternative finale to the previous Octet, Op. 103. As with the Octet, David Whit- well argues that this work is clearly not a mere piece of Tafel- musik, but was intended as serious concert program material, written for the resident wind players at the Elector's palace.4

The work was not offered for publication during Beethoven's lifetime, with the first edition issued in 1830 by Diabelli in Vienna.

Rondino in E-flat, WoO 25 Andante; 2/4; E-flat; 133 mm. (with one 8 m. repeat);

rondo

Available Recordings Tschech. Philh. Prag Barenreiter-Musicaphon

Kassel 1230 Wedin/Stockholm Sinfonietta Bis 186 Westdt. Blasersolisten Calig Verlag Munchen 30 437 Westdt. Blasersolisten Sastruphon 008 005 London Wind Soloists Decca 383 Netherlands Wind Ensemble Philips 9500087 Schnell, Keller Octet Vox SVBX - 580

Sextet, E-flat, Op. 71 2 clarinets, 2 bassoons, 2 horns

Sketches for the minuet and trio of the Sextet, Op. 71, are contained in the "Kafka" sketch-book in the British Muse¬ um, London, indicating that work had begun on the piece as early as 1796. Beethoven may not have completed the com¬ position until 1805 in Vienna, however.

After the Sextet was premiered in a benefit concert in April, 1805, a review appeared in the "Allgemeine Musikalische Zeitung" which mentions that "particular pleasure was given by the beautiful Beethoven Sextet in E-flat, a composi¬ tion which shines with lovely melodies, an unforced har¬ monic flow, and an abundance of new and unexpected ideas. The clarinet part was played by Herr Par [Joseph Bahr], in the service of the princely family Liechtenstein, with the greatest perfection. This artist possesses, in addition to ex¬ traordinary facility and assurance, an extremely charming and agreeable tone, and he is able, especially in piano pas¬ sages, to make it so melting, tender and touchingly delicate that there will surely be few comparable masters of his in¬ strument."5 In a letter to his publisher, Breitkopf & Hartel,

Beethoven himself said of the work: "The Sextet is one of my earlier things, and was written, moreover, in a single night [sic]; one can really say nothing about it but that it is by a composer who has produced at least a few better works — but to many people works of this kind are the best."6

The original edition was issued by Breitkopf & Hartel in 1810, with advertisements in the "Allgemeine Musikalische Zeitung" during January and May of that year which read: "Beethoven, Sestetto p. 2 Clar. 2 Cor und 2 Fagotts. Orig./Brietkopf et Hartel/in Leipzig."7 As with the Octet, Op. 103, the opus number 71 was added later to fill a gap in the numbering.

Sextet in E-flat, Op. 71 I Adagio; 4/4; E-flat; 10 mm.; introduction leading to

Allegro; 3/4; E-flat; 297 mm.; sonata II Adagio; 2/4; B-flat; 69 mm.; ternary design

III Menuetto, Quasi allegretto; 3/4; E-flat, 33 mm. (menuetto); E-flat, 27 mm. (trio)

IV Rondo, Allegro; (p; E-flat; 138 mm.; rondo

Available Recordings Berlin Philh Deutsche Grammophon 2721 129 IMS Tschech. Philh Prag . . Barenreiter-Musicaphon Verlag 1230 Boutard, Ensemble Nonesuch 71025 Netherlands Wind Ensemble Philips 9500087 SW German Radio Orch Vox SVBX - 579

Quintet, E-flat, Op. 16 piano, clarinet, bassoon, horn

The Quintet, Op. 16, dedicated to Prince Joseph zu Schwarzenberg, was given its first public performance at a concert presented by the violinist Ignaz Schuppanzigh on April 6, 1797. The work had probably been completed not long before. Beethoven himself played the piano at the premiere, with the other performers being Triebensee (oboe), Bahr (clarinet), Matauschek (bassoon), and Nickl (horn). In the third movement, where now is printed a brief cadenza for piano, the composer apparently enjoyed im¬ provising extended cadenzas when he performed the work. Mention of such freedom occurs in an anecdote related by Ferdinand Ries:

That evening Beethoven played his Piano Quintet with wind instruments; the celebrated oboist Ram [Friedrich Ramm] from Munich also played and accompanied Bee¬ thoven in the Quintet. In the last Allegro a pause occurs several times before the theme returns; on one of these oc¬ casions Beethoven began to improvise, taking the Rondo as his theme, pleasing himself and those listening for a considerable time, but not pleasing the other players. They were annoyed, and Herr Ram even enraged. It really looked highly comical when these gentlemen, ex¬ pecting the movement to be resumed at any moment, kept putting their instruments to their mouths, but then had to put them down again without playing a note. At length Beethoven was satisfied, and started up the Rondo again. The whole assembly was delighted.8

Beethoven later rescored the work for piano, violin, viola, and 'cello, with both the quintet and quartet instrumenta¬ tions appearing on the first edition issued in March, 1801.

The Clarinet — 35

by Mollo in Vienna. The title page read: "Grand Quintet- to/pour le/Forte-Piano/avec Oboe, Clarinette, Basson et Cor/ou/Violon Alto, et Violoncelle/compose et dedie/A son Altesse Monseigneur le Prince/Regnant de Schwarzenberg &. &./par Louis van Beethoven/Oeuvre 16... chez T. Mollo et Comp./..."9 However, Beethoven did not authorize the arrangement for string quartet published by Artaria as Op. 75. The original manuscript is now lost.

Quintet in E-flat, Op. 16 I Grave; 4/4; E-flat; 21 mm.; introduction leading to

Allegro ma non troppo; 3/4; E-flat; 395 mm.; sonata II Andante cantabile; 2/4; B-flat; 112 mm.; rondo

III Rondo, Allegro ma non troppo; 6/8; E-flat; 255 mm.; rondo

Available Recordings Complesso Musica da Camera Rom Duraphon 235 Demus/Berlin Philh Deutsche Grammophon

2721 129 IMS Haebler/Bamberger Blaserquintett Philips .6570881 Knardahl/Goteborger Blaserquintett Bis 061 Masi/Blaser-Kammermusik-Vereingg, Bonn Aulos

53 553 Zehr/Salzburger Klass. Blaserspiel Claves Verlag

Thun 0 805 Ashkenazy/London Wind Soloists Decca 6252 Nash Ensemble CRD 1067

D. Brain Wind Ensemble BBC 352 Brendel/Hungarian Quintet Vox SVBX - 579 Glazer/N.Y. Woodwind Quintet Orion 76224 Paris Wind Ensemble Nonesuch 71054 Tashi RCA ARL 1-2217 Simon/Woodhams/Silfies/Berry/Pandolfi Turnabout

37004

Trio, B-flat, Op. 11 piano, clarinet or violin, 'cello

The Trio, Op. 11, was written in 1798 and published in the same year by Mollo & Co., Vienna, with a violin alterna¬ tive to clarinet. Whether the violin part was prepared by Beethoven (as Czerny claimed) or by the publisher is still in doubt.10 The work is dedicated to Countess Maria Wilhelmi- na von Thun und Hohenstein, an acquaintance of Beetho¬ ven's through the Lichnowsky family.

One particular early performance of the Trio soon after its publication is of interest. At a concert in Count Fries' home in 1800 Beethoven first met with rival piano virtuoso and composer Daniel Steibelt. This initial meeting, and its conse¬ quent eight days later, is vividly described by Ries:

They [Beethoven and Steibelt] first met one evening at Count Fries' where Beethoven played for the first time his new Trio in B-flat for piano, clarinet, and violoncello. In this work the pianist cannot show himself off to any great advantage. Steibelt listened to it with a certain air of con¬ descension, paid a few compliments, and felt himself cer¬ tain of victory. He played a Quintet of his own composi¬ tion, improvised and also made a great effect with his tremulandos which, at that time, constituted a great novel¬ ty. Beethoven could not be induced to play any more. Eight days later there was another such concert at Count Fries'. Steibelt again played a quintet with much success and in addition (and this was quite evident) had prepared a brilliant improvisation, choosing as a theme the subject of the variations of Beethoven's Trio. This outraged not only Beethoven's supporters but also the composer him¬ self. He now had to seat himself at the piano in order to improvise. He went in his usual, I must say ungracious, manner to the instrument as if half lunging toward it grabbing, as he passed, the violoncello part of Steibelt's quintet, placed it (intentionally?) upside-down on the music stand and from the opening notes drummed out a theme with one finger. Offended and stimulated at the same time, he improvised in such a manner that Steibelt left the room before Beethoven had finished. He refused ever to meet him again; in fact he made it a condition that Beethoven should not be invited anywhere where his com¬ pany was requested.11

The theme which Steibelt took for his "brilliant im¬ provisation" was actually a popular tune borrowed by Bee¬ thoven from the two-act comic opera The Cosair by Joseph Weigl. Czerny reports that Beethoven had taken the theme at the request of a clarinet player (Joseph Bahr)12 for whom he wrote the trio. Beethoven is said to have regretted these variations later, describing them as a concession to "lower taste. "13

Trio in B-flat, Op. 11 I Allegro con brio; 4/4; B-flat; 254 mm.; sonata

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36 — The Clarinet

II Adagio; 3/4; E-flat; 64 mm.; ternary design III Tema: Pria ch'io I'impegno, Allegretto; 4/4;

B-flat; 16 mm. var. 1 — 4/4; B-flat; piano solo; 16 mm. var. 2 — 4/4; B-flat; cl/vc duet; 24 mm. (with last 8 mm. repeated) var. 3 — 4/4; con fuoco; B-flat; 16 mm. var. 4 — 4/4; B-flat; 16 mm. var. 5 — 4/4; B-flat; 16 mm. var. 6 — 4/4; B-flat, 16 mm. var. 7 — 4/4; B-flat; 16 mm. var. 8 — 4/4; B-flat; 24 mm. (with last 8 mm. repeated) var. 9 — 4/4; B-flat; 16 mm. plus 7 mm. of transition Allegro - 6/8-4/4; G-B-flat; 44 mm.; coda

Available Recordings Pieterson/Beaux Arts Trio Philips 9500670 Members of New Vienna Octet Decca 528 Nash Ensemble CRD 1045 Music Group of London ASV 1005 Wilber/Winland/Solyom Artemis 7107 Berkes/Perenyi/Koesis Hungaroton 12286 Demus/Vienna Chamber Ensemble Eurodisc 200482 Glazer/Glazer/Soyer Vox SVBX - 580 McGinnis/Conable/Platt Coronet 3023 Tashi RCA ARL 1-2217 Beaux Arts Trio Philips 6747 142 Consortium Classicum EMI Electrola 065-30 994 Demus/Deinzer/Mandalka EMI Electrola 065-99 839 Hoogland/Honigh/Bylsma Telefunken 6.41252AQ Kempff/Leister/Fournier Deutsche Grammophon

2721 132 IMS Stark/Bell'Arte Trio Intercord Tongesellschaft 185 753 Wiener Kammerensemble .... Ariola-Eurodisc 200 482-366

Septet, E-flat, Op. 20 clarinet, bassoon, horn, violin, viola, 'cello, bass

Sketches for the Septet, Op. 20, appear among those for the Quartets, Op. 18, of 1799, the most probable date of composi¬ tion. While the theme of the third movement, "Tempo di Menuetto," was borrowed from the second movement of the Piano Sonata, Op. 49, No. 2, contention that the theme for the variations of the fourth movement was actually taken from a Rhenish folk song ("Ach Schiffer, lieber Schiffer") remains unproven.14

After its premiere at a private concert at the Palace of Prince Schwarzenberg, the Septet was presented in Vienna on April 2, 1800, at a benefit concert for Beethoven himself. The fourth item on the program, the work was listed as "A Septet for 4 stringed and 3 wind instruments, most humbly dedicated to Her Majesty the Empress [Maria Theresa] and composed by Herr Ludwig van Beethoven, played by Messrs. Schuppanzigh, Schreiber, Schindlecker, Bar [Joseph Bahr], Nickel, Matauschek and Dietzel."15 Beetho¬ ven then offered the work to the publishers Franz Anton Hoffmeister and Ambrosius Kuhnel, who had founded the "Bureau de Musique" (later C. F. Peters) in December, 1800. Actual first publication did not occur until 1802, how¬ ever. The composer suggested to the publishers that "For more frequent use one could transpose the three wind instru¬ ments: Bassoon, clarinet, and horn, for another violin,

another viola and another cello," though no such arrange¬ ment appeared.16 Beethoven subsequently rescored the Septet as a piano trio, later published as Op. 38.

The contemporary popularity of the work may be judged by the numerous unauthorized arrangements which were published during Beethoven's lifetime. Such arrangements included settings for string quintet (arranged by Hoff¬ meister), two guitars, piano four hands, piano two hands, piano quartet, and wind ensembles for nine instruments (ar¬ ranged by Druschezky) and eleven instruments (including serpent, arranged by Crusell).

Septet in E-flat, Op. 20 I Adagio; 3/4; E-flat; 18 mm.; introduction, leading to

Allegro con brio; (p; E-flat; 270 mm.; sonata II Adagio cantabile; 9/8; A-flat; 115 mm.; sonata

III Tempo di Menuetto; 3/4; E-flat, 28 mm. (menuetto); E-flat, 20 mm. (trio

IV Tema con Variazioni, Andante; 2/4; B-flat; 16 mm.; rounded binary var. 1 — 2/4; B-flat; strings alone; 32 mm. (written

out repeat) var. 1 — 2/4; B-flat; violin solo passagework; 16 mm. var. 2 — 2/4; B-flat; cl/bsn foreground duet; 16 mm. var. 3 — 2/4; B-flat; 16 mm. var. 4 — 2/4; B-flat; restatement of principal theme;

16 mm. plus 25 mm. coda V Scherzo, Allegro molto e vivace; 3/4; E-flat, 80 mm.

(scherzo); E-flat, 48 mm. (trio)

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The Clarinet — 37

VI Andante con moto alia marcia; 2/4; E-flat; 16 mm.; introduction, leading to Presto; (p; E-flat; 211 mm.; sonata; with violin cadenza

Available Recordings Academy of St. Martin-in-the-Fields Philips 9500 873 Collegium Aureum EMI Electrola 065-99713Q Collegium Musicum Pragense .... Barenreiter-Musicaphon

Kassel 4113 Consortium Classicum Sastruphon 007 016 Divertimento Salzburg Claves Verlag Thun 0 809 Miinchener Nonett Colosseum Schallplatten 0 101 Munchener Solisten-Ensemble Saphir 120 869 Philh. Oktett Berlin Philips 6527 066 Philh. Oktett Berlin Deutsche Grammophon

2721 129 IMS Wiener Philh. Kammerensemble . . Deutsche Grammophon

2530 799 IMS Bamberg Symph. Chamber Ensemble .... Vox SVBX - 580 Vienna Octet Decca 200 Boston Symphony Chamber Players Nonesuch 78015

Trio, E-flat, Op. 38 piano, clarinet or violin, 'cello

This arrangement of the Septet, Op. 20, as a trio for piano, clarinet or violin, and 'cello is by Beethoven himself and car¬

ries a dedication in French on the first page of the piano part to the physician Professor Johann Adam Schmidt, who treat¬ ed Beethoven's ear complaint. Dr. Schmidt, mentioned in gratitude in Beethoven's Heiligenstadt Testament of Oc¬ tober 6, 1802, was reputedly a skilled amateur violinist and his daughter a competent pianist. Beethoven thus arranged his popular piece for family use and, as was customary at the time, gave Dr. Schmidt the exclusive possession of the music for one year. The arrangement probably dates from 1803, with its first publication being in Vienna, 1805.

The arrangement as a trio utilizes most of the original clarinet part which is modified in only a few details. Much more substantial differences occur between the original and arranged 'cello parts, with the trio version incorporating ele¬ ments of the original bassoon and horn lines. Beethoven's skill as a pianist is reflected in the artistic manner in which the rest of the ensemble has been reduced and modified for the keyboard.

Mention should also be made of an unpublished arrange¬ ment made by the Verdehr Trio of Michigan State Universi¬ ty for clarinet, violin, and piano.

See the analysis under the Septet, Op. 20.

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38 — The Clarinet

About the writer... Ricky Duhaime is currently Assistant Professor of Music

at Austin College in Sherman, Texas, where his teaching duties include applied woodwinds, chamber ensembles, and music appreciation. Principal clarinetist with the Sherman Symphony since moving to Texas in 1978, Mr. Duhaime is also active as a chamber music performer on all the wood¬ winds and 'cello. He holds Bachelor of Arts and Bachelor of Science degrees from the University of New Hampshire, a Master of Music degree from the University of Illinois, and is now working toward a Doctor of Musical Arts degree at North Texas State University.

ENDNOTES 1. Hans-Werner Kiithen, "Chamber Music with Wind In¬

struments," Ludwig van Beethoven, ed. Joseph Schmidt-Gorg and Hans Schmidt (N.Y.: Praeger Publishers, Inc., 1972), p. 67.

2. Mention must also be made that at least one source considers these works to be spurious. See: Douglas Johnson, "Beetho¬ ven" (work-list), The New Grove Dictionary of Music and Musi¬ cians, ed. Stanley Sadie (London: Macmillan Publishers, Ltd., 1980), vol. 2, p. 409.

3. The author realizes "for a concert" is a rather free interpreta¬ tion of the original French indication which might be more pro¬ perly translated "in a concert[ed way]." For a discussion of the wind music of the time as true concert material, the reader

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is directed to: David Whitwell, "The Incredible Vienna Octet School," The Instrumentalist, XXIV, Nos. 3-7 (Oct. 1969 — Feb. 1970). Evanston, Illinois: The Instrumentalist Co.

4. David Whitwell, A New History of Wind Music (Evanston, Il¬ linois: The Instrumentalist Co., 1972), p. 22.

5. Kiithen, p. 74. 6. Ibid., p. 76. 7. Ibid. 8. Ibid. 9. Ibid.

10. Emil Platen, "The String Trios," Ludwig van Beethoven, ed. Joseph Schmidt-Gorg and Hans Schmidt (N.Y.: Praeger Publishers, Inc., 1972), p. 130.

11. H. C. Robbins Landon, Beethoven: a Documentary Study (N.Y.: Macmillan Co., 1970), pp. 134, 135.

12. Pamela Weston, Clarinet Virtuosi of the Past (London: Robert Hale, 1971), p. 40.

13. Ibid. 14. Kiithen, p. 81. 15. Ibid. 16. Ibid., p. 82.

BIBLIOGRAPHY

Blackham, Richard and Jane Poirier, eds. Schwann-1 Record & Tape Guide, June, 1983. N.Y.: ABC Schwann Pub., Inc., 1983.

Braun, G., ed. Bielefelder Katalog Klassik 1-1983. Karlsruhe, Ger¬ many: G. Braun, 1983.

Forbes, Elliot, ed. Thayer's Life of Beethoven. Princeton, N.J.: Prince¬ ton University Press, 1967.

Johnson, Douglas. "Beethoven" (work-list). The New Grove Diction¬ ary of Music and Musicians. Ed. Stanley Sadie. London: Macmillan Publishers, Ltd., 1980.

Kinsky, Georg and Hans Halm. Das Werk Beethovens: Thematisch- Bibhographisches Verzeichnis seiner sdmtlich vollendeten Kompositionen. Munich: G. Henle Verlag, 1955.

Kiithen, Hans-Werner. "Chamber Music with Wind Instru¬ ments." Ludwig van Beethoven. Ed Joseph Schmidt-Gorg and Hans Schmidt. New York: Macmillan Co., 1970.

Landon, Howard Chandler Robbins. Beethoven: a Documentary Study. New York: Macmillan Co., 1970.

Platen, Emil. "The String Trios." Ludwig van Beethoven. Ed. Joseph Schmidt-Gorg and Hans Schmidt. New York: Praeger Publishers, Inc., 1972.

Scherman, Thomas K. and Louis Biancolli, eds. The Beethoven Com¬ panion. Garden City, N.Y.: Doubleday & Co., Inc., 1972.

Walder, Malcolm, ed. Gramophone Classical Catalogue, June, 1983. Harrow, Middlesex, G.B.: General Gramophone Publications, Ltd., 1983.

Weston, Pamela. Clarinet Virtuosi of the Past. London: Robert Hale, 1971.

Whitwell, David. A New History of Wind Music. Evanston, Illinois: The Instrumentalist Co., 1972.

Whitwell, David. "The Incredible Vienna Octet School." The In¬ strumentalist, XXIV, Nos. 3-7 (Oct. 1969 — Feb. 1970). Evanston, Illinois: The Instrumentalist Co.

The Clarinet — 39

Claranalysis

The Boehm clarinet in

the twenty-first century

By Lee Gibson

For the twentieth century the development of the Boehm- system clarinet has been marked by notable innovations which have been favorably received, then almost forgotten. After the first world war H. & A. Selmer led in the perfection of the so-called "full improved Boehm," with twenty-one keys and seven rings. For opera and theater orchestra play¬ ers this model, in B-flat, became the standard soprano clari¬ net almost everywhere excepting the Germanic countries. It retains its position in Italy and in Spanish countries. Also during the 1930s, Ernst Schmidt of Mannheim developed, with the assistance of Kolbe and the Wurlitzers of West Ger¬ many, the Schmidt Reform Boehm clarinet which has been acoustically improved in a smaller bore by Herbert Wurlit- zer and is now accepted in the Netherlands and elsewhere as the standard bearer for the Boehm system.

What of the Boehm clarinet of the next century? Perform¬ ers have been quite conservative in their acceptance of inno¬ vations, with isolated exceptions such as Anton Stadler, Mozart's clarinetist. Xavier Lefebvre was a leading member of the Paris jury which rejected Ivan Mueller's 13-keyed clarinet precisely because it could be played in all keys, de¬ priving the listener of the appreciation of clarinets in differ¬ ent keys! Cavallini is said to have preferred simple clarinets long after they had been superseded, and in 1985 most of the foremost professional clarinetists who reside outside the Ger¬ manic sphere continue to use the "Boehm ordinaire" or a close relative. However, the increasing preference for Wur- litzer's Schmidt Reform Boehm in the Netherlands and the British Commonwealth supports a judgment that this system provides several of the better options for improvements of the ordinary Boehm, as follow:

1. The B-flat/Register Vent Mechanisms. First developed for bass clarinets, these appeared in the 1930s upon so¬ prano clarinets by Schmidt, Heckel, Leblanc, and oth¬ ers. More recently, improvements upon the Romero-sys¬ tem B-flat have been utilized for the Mazzeo-system Sel¬ mer and the Mclntyre clarinet, and English woodwinds craftsmen have installed increasing numbers of mechan¬ isms which (a) add a second vent for B-flat which is ac¬ tivated by pressing the register key while leaving the thumb ring untouched, or (b) exchange the register vent for a larger, lower B-flat vent when a second-space A key

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40 — The Clarinet

is pressed. Although each of these two types has been used in Schmidt Reform instruments, my impression is that Schmidt himself preferred the A-key linkage, as do I.1 Now is the time for every important clarinet maker to choose one of these systems which provide better venting and tone for this B-flat while reducing the mistuning caused in the clarion register by the register vent, and to make it optionally available.

2. The Seventh Ring, with Articulated F-sharp/G-sharp and A-flat/B-flat Mechanisms. Here we are faced by a choice between the French system, with its vent through a longer center joint, and the Schmidt system, which may be a bit more trouble-free.

3. The B/F-sharp/D-sharp Vent Mechanism. Appearing since the 1930s upon the Schmidt Reform Boehm and since the 1960s upon the Boosey & Hawkes 1010 soprano clarinets, this device, which was inspired by Oehler's adaptation of the oboe's F-resonance mechanism, is des¬ tined for complete acceptance once it has been intro¬ duced by the leading makers. Buffet, Selmer, and Le¬ blanc: Will you let Yamaha beat you to this, which can give a perfect 123 5 pitch in each of the first three regis¬ ters?

4. The Auxiliary G/D Vent. This vent (one of the superi¬ orities of the Selmer bass clarinet) may or may not be in¬ dispensable in a smaller-bored Boehm, but for one who has played or owned (as did I) Boosey and Hawkes 1010s, it is sorely missed upon these large-bored Boehms.2

5. The German-system E-flat/C Little-finger Rollers. Here one could argue, but why not have them?

6. The Left-hand A-flat/E-flat Key. One believes that this key, which has been added frequently by custom crafts¬ men, should clearly be available for all first-line clarinets.

There you have it. Such a clarinet is almost already de rigueur in the Netherlands. Let your maker of clarinets know that you deserve, expect, and will buy such clarinets.

A postscript on ligatures

Referring to a recent discussion of clarinet ligatures3 the writer offers several addenda. In the case of the Vandoren ligature, Vandoren has kindly sent to me a very slightly al¬ tered, newer model which does in fact hold the reed more se¬ curely and is quite satisfactory. A Sounds of Woodwinds string ligature is also a good solution, although it is bulky and extra time is needed for changing reeds. The new Rov- ner ligature (in one model only) is available for all clarinets and it is outstandingly convenient. While perusing old issues of The Clarinet we rediscovered Henry Duckham's priceless "It Don't Mean a Thing if it Don't Have That String."4

ENDNOTES 1. See Anthony Baines, Woodwind Instruments and their History, New

York, W. W. Norton & Co., 1957, plate XII. 2. Also taken from the bass clarinet, Schmidt's large bore required

a lower, larger A-E vent with its leverage and pad. 3. "Claranalysis," The Clarinet, Vol. 11, No. 2 (1983-84). 4. Henry Duckham, "It Don't Mean a Thing if it Don't Have

That String," The Clarinet, Vol. 6, No. 2 (1979), p. 30.

Care and repair

By Robert Schmidt, Ithaca College

Subtle large pad key bending adjustments

There are some gentle key bending corrections which aid the seating oflarge skin pads in the clarinet's lower joint.

A number of assumptions precede these adjustments. A) The pad has been installed and "floated in" with conventional

heating and shifting techniques to its most favorable position, (a definite future article)

B) The key cup is level with and centered over the tone hole, (a pos¬ sible future article)

C) The tone hole edge is smooth and level (future article), and any washed out grains have been sealed (past article).

D) The pad is flat and symmetrical, fits well (evenly & snugly) in the key cup, is centered over the tone hole (the right thickness), and is under sufficient spring tension when the key is kept closed, (future aticles)

E) The pad has a skin surface nonporous enough to create a reason¬ able vacuum when tested with a plastic tube (i.e. a cork grease tube as illustrated in a previous article).

Photo 1 shows the items needed. Your clarinet, a metal swivel- head saxophone screwdriver, a 1" rawhide mallet, a pad leveling tool (also called a pad slick), smooth jawed flat-nosed pliers, a dental probe with its tip ground down, and a piece of cigarette paper cut to an appropriate taper (@ J4 " at the tip).

Photo 2 shows the cigarette paper about to be inserted under the pad. The tip of the paper goes to the center of the hole; the key is closed; and the pad's gripping pressure is tested by pulling the paper out.

Assuming the pad face is a clock, photos 3, 4, & 5 test for even grip¬ ping pressure at 12, 9, & 6 respectively.

Let's give some examples of what can be done to correct minor de¬ ficiencies. WARNING: Extreme caution should be observed when applying the following methods to your clarinet. Discretion is better than damage if you're uncertain of your abilities.

The test in photo 6 confirms that gripping pressure is lighter at 9 (o'clock) than at 3, so

The flat-nosed pliers grip the key cup arm, and with the key closed, you gently crimp the arm toward 9 o'clock (to the left in photo 7).

Photo 8 gives a similar correction to the E-B key. The key is pressed closed, and the pliers are gently bending the key arm to the right. (This will provide more pad gripping pressure at 3 and/or relieve any overcorrection achieved in the photo 7 step.)

When a pad grips well everywhere but is slightly light at 12 o'clock, you can put a smooth metal object between the key arm and clarinet body, and carefully bend the key cup down at 12.

Photo 9 shows a dental probe under the key arm (this holds the key partially open), while my two thumbs press down on the key cup. Photo 10 is another view of the same correction.

Photo 11 shows the same correction with a pad slick holding the key cup open. Be careful that the hard edges of the pad slick don't dig into the tone hole.

Photo 12 depicts the use of a screwdriver for leverage at the key arm while my thumbs press on the E-B key cup. Test with cigarette paper to see if the pad seating has improved. While it is desirable to have equal gripping pressure all around the pad's sides, slightly better (stronger) gripping at 12 seems advantageous to the entire pad.

If you went too far in the previous correction, or if the gripping pressure is a bit weak at 6, the key cup can be encouraged to return to a more level position (in relationship to the tone hole) with a rawhide mallet. With the key closed, lightly rap on the key cup where the arm meets it at 6 o'clock. I offer three photographs of this correction (13, 14, 15) to point out as clearly as possible the exact point of contact. Only experience can let you know how hard to hit or tap. PHOTO 3

The Clarinet — 41

42 — The Clarinet

PHOTO 12 PHOTO 15

G$t

to Cyitnirrtcal JBorts

by

Stralcjfvt rims up the Jingers on oboe antt flute,

full spun oj the compass in one single toot;

Where their Plozart music is fingers on holes,

But wfio notes the tag of the poor chalmeaux's woes7

It's not lip and valve, or short [eft hand shift,

It's four fingers down, three fingers that lift;

jumping from C# to D#, then B,

Seems to be altvags in order for me.

To kick up an octave, 1 can't punch one key,

Can't tighten my lip, no hand shift for me.

No, my fingers must flop and my hands must contort,

Uhde my jaw damps up tight, the vibrations to sort.

Have you ever heard of a D violin?

Would a 'cello in fi break you out in a grin?

A bass viol in A, a viola in d?

l^et, Look, at the hardware that they ask- of me:

A short one in another in A;

Both in a box, to use day to day;

With Beethoven, Rossini, or others, you see

1 must have another, one smaller, in C.

With Rrofe, Saint Saens, or Mahler (what a bore!)

We haul out the bass, fifteen pounds or more.

And, if Wagner prevailed, if he had his way,

I'd haul out another, this one pitched in A.

Ts it Mozart you want9 Something dofce (that's "sweet")?

Then drag in cor bassett! Oh God, what a treat!

(a^nd, mind you, we've left out the fP and D)

A regular lumber truck, that's little ale me.

It's all to conform, to help our dear strings;

To pitch them in & (the poor little things!)

They sure hate those flats, but the sharps are sg nice,

So the old clarinets end up paying the price.

Well, give me the money and the horns I'd go buy,

Or, transpose the notes, so in B^ they'll lie;

Or, better yet, transpose the whole blessed work,

Tlafee the strings shift, make their fingers jethl

It just isn't fair to pitch us in Z^",

While the rest play in C, untransposed and all that;

It's just simple physics, and we pay the price!

1 wish we played oboes, so we'd have it nice.

While the shape of a cone will give you an eighth,

The story's quite different when your bore is straight.

© SL Enterprises

(Contact SL Enterprises, P. O. Box 768, Belleville, IL 6222-0768 concerning the availability of copies of this poem suitable for framing. Ed.)

BOB ACKERMAN

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44 — The Clarinet

Record rumbles

By Jim Sauers In the last issue, Jerry Pierce reviewed an Orfeo recording

of Meyerbeer's GliAmoridi Teolinda. He mentions it as a "rare and all but forgotten work..." Would you believe there is an¬ other recording, this time the clarinetist is Dieter Klocker, with Mariana Nicolesco, soprano, with the Ludwigsburg Fes¬ tival Orchestra? This is an Intersound recording on the Pro- arte label, number PAD 186.

Alan Hacker has made two new records. The first is on Say- disc SAR 17 which includes Mozart's Quintet in A, K. 581, and previously unrecorded quintet movements in B-flat, K.516c and in F, K.580b. The second is Hyperion A66120 and in¬ cludes Edward Cowie's Clarinet Concerto No. 2 and his Concerto for Orchestra.

A reissue by CBS Masterworks is MP 38764; this contains two works by Mozart, his Sinfonia Concertante, K.287b and Quintet, K.452 for Piano, Oboe, Clarinet, Horn, and Bas¬ soon. Anthony Gigliotti is clarinetist on both with members of the Philadelphia Woodwind Quintet. These were previously released on Columbia M3 32135 and MS 6061 about 1959 and 1963.

From Iceland comes Gramm G 100 with the Clarinet Concerto of Askell Masson (1953) with Einar Johannesson, clarinet, and the Iceland Symphony Orchestra. And from Bremen House (218-220 85th Street, New York, NY 10028) is Aulos 53570 with music by Giinter Raphael (1903-1960). This in¬ cludes his Trio for Clarinet, Cello and Piano, Op. 70, his Sonatine, Op. 65 No. 3 and his Piano Sonata, No. 2. The clarinetist is Franz Klein.

I wish to mention a Nonesuch release I have enjoyed; it is their 78026, Music for Winds, Volume II with the London Wind Orchestra. I would be inclined to call a group with this instru¬ mentation a symphonic band, but it does include some of Bri¬ tain's best players, with single reed players such as Colin Bradbury, Colin Courtney, Keith Puddy, Roger Fallows, Victor Slaymark, Paul Harvey, Ted Planas, Stephen Trier, Hale Hambleton, Anton Weinberg and several others. On one side are four works by Percy Grainger, including his Lin¬ colnshire Posy; on the other are Darius Milhaud's SuiteFrangaise and the Suite Frangaise by Francis Poulenc.

A German recording of a different nature is Landgrdfliche Marschmusik, which I am told roughly translates "Landown¬ er's music." These are mostly short marches written by Landgraf Ludwig IX von Hessen-Darmstadt and others. It is played by the Unisono-Blaserensemble, with Hans Pfeifer, Sabine Pfeifer and Renate Rusche, clarinets. Other instru¬ ments include percussion (1), two trumpets, horn, bassoon, oboe and piccolo/flute. The record number is Unisono UNS 22873. An even more intriguing recording is Music for Winds by Carl Maria von Weber on the CBS French label (39011). On one side are Six Waltzes and on the other a March and the Concertino for Oboe and Winds. Clarinets are Alain Damiens, Jacques di Donato, Hervet Ghislain and Eric Lamberger. Other instruments are flute/piccolo, oboe, two bassoons, two horns, trombone and double bass.

Some other recent releases, noted without comment, are: Signum SIG 008-00, French Music for Clarinet and Piano, with

Walter Boeykens, clarinet. This includes music by Saint- Saens, Gaubert, Chausson, Pierne, Rabaud and Messager.

Gallo 30-391, Quatuor de Clarinettes de Geneve, with works by Alfred Uhl, Feliu Gasull, Denise Roger andjean Absil. Clari¬ netists are Jean-Michel Bertelli, Gerard Scholtz, Marie- Chantal Schlotz and Sergio Menozzi.

Jecklin-Disco 587, Music of Conradin Kreutzer, with Hans Rudolf Stalder and Elmar Schmid, clarinets. Music includes Kreutzer's Trio for Piano, Clarinet and Bassoon, Das M uhlradfor Soprano, Clarinet and Piano, and Trio for Two Clarinets and Viola.

Cybeha 705, 20th Century French Music, by Aubert Lemeland, played by the Aulos Woodwind Quintet of Stuttgart. Music is the composer's Musique Nocturne, Idealide, Quintette No. 3 and Canzoni di Asolo.

Nonesuch 79073, Mozart Wind Serenade in E-flat Major, K. 375 and Serenade in C minor, K. 388, played by the Los Angeles Chamber Orchestra Winds. David Shifrin and Gary Gray are clarinetists.

Supraphon 1110 3174, with music by Jan Neruda and J. Stamitz, but no clarinet on these works. It does include the Clarinet Concerto by Simon Kalous (1715-1786).

Forlane UM 3518, Weber's Clarinet Concertos No. 1 and No. 2, with Serge Dangain, clarinet.

New Music Distribution Service, 500 Broadway, New York, NY 10012, is offering an unusual record, Clarinet Sum¬ mit, played by a clarinet quartet, which consists of Alvin Ba¬ tiste, John Carter, Jimmy Hamilton and Avid Murray, with Murray on bass clarinet. This is mostly jazz and blues, with a little contemporary thrown in, and some unusual bass clarinet playing. Write them for their catalog.

More about recording equipment; this is an item which has probably arrived too late, but it might catch on: the Compu- sonics DSP-1000 records up to 60 minutes on a 5 inch flop¬ py disc, the type used on computers. The sound is supposed to be great. On these discs, the recording and playback are done by a disc drive with magnetic heads. These should be available in early 1985. As I said, it is difficult to predict the potential and commercial success of such a system, but I mention this as an example of the technical progress of recording.

Finally, I am becoming reluctant to mention sources of rec¬ ords in this column. Some of my past sources that seemed so reliable are giving me headaches, so if any readers want sourc¬ es of specific records, drop me a line. I'll try to help.

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The Clarinet — 45

Record reviews

By Alan E. Stanek, Idaho State University

Clarinettologia — Gaspare Tirincanti Quartet. Gaspare Tirincan- ti, clarinet and bass clarinet, Saverio Gallucci, piano, Onori- no Tiburzi, string bass, Elio Tiburzi, drums. Real Sound- CBR 1110 stereo.

Gaspare Tirincanti, Professor of Clarinet at the Istituto Musicale Pareggiato A. Peri at Reggio Emilia, has assem¬ bled a fine jazz quartet, and this recording is a delightful change of pace for this reviewer's daily listening sessions. Gaspare, born 1951, received a diploma from the G. Rossini Conservatorio in Pesaro for clarinet in 1969 and for percus¬ sion instruments in 1970. According to the biography en¬ closed with his edition of Stark's Arpeggio Studies, Op. 39, published by Ricordi, he has also established a lively career as a soloist, chamber musician, and opera orchestra clarinet¬ ist at the Teatro Alia Scala in Milan.

Eight selections grace two sides of this well-pressed album. The balance and fidelity are excellent with a good bit of re¬ verberation. Side one features Tirincanti in renditions of After You've Gone (Creamer-Clayton-Turner), Op. 10, by Buddy DeFranco, Cole Porter's Love For Sale, and Tirincan- ti's own Clarinettologia, a short improvisatory work reminis¬ cent of Artie Shaw with some be-bop licks a la early Buddy DeFranco. In a brief section near the end of the work, Tirin¬ canti explores some contemporary techniques including an eerie set of tremolos in the chalumeau register, multiphonics, vocalizations while playing, and ends with a flurry of typical Goodman doodles on a top C. Very impressive!

Side two features Tirincanti on bass clarinet in Brother Jones by Hidehiko Matsumoto with no less bravado. Rides by each of the quartet members are well done. Next, Carlo Jobim's Wave is followed by Coltrane's Some Other Blues and Chick Corea's La Fiesta. Elio Tiburzi lays down a steady, well-defined beat for improvisations by Onorino Tiburzi on bass and Saverio Gallucci on piano. Clarinetists and jazz afi¬ cionados will enjoy this recording.

The distributor of the record for the U.S.A. is: Discoland, Via Emilia S. Stefano I2/D — Reggio Emilia 42100 — Ital¬ ia. Mr. Tirincanti's address is via Settembrini, 5, 47036, Riccione, Italy.

By John W. Kuehn, Indiana University of Pennsylvania

Chicago Symphony Winds. Mozart: Serenade No. 11 in E-flat Major for Wind Octet, K. 375; Grieg: Four Lyric Pieces, trans- cribed for Wind Octet. Larry Combs, John Bruce Yeh, clari¬ nets. Sheffield Lab LAB 22.

The Mozart Serenade, one of the earliest masterpieces for wind ensemble, is handled by these eight players with as much precision and finesse as could possibly be desired. All standards of intonation, balance, articulation, and dynamics are attended to in minute detail. The Four Lyric Pieces, ar¬ ranged by bassoonist Williard Elliot, are short piano works taken from a ten-volume collection written between 1867 and 1901 containing 66 numbers. These are superb pieces of craftsmanship: the performance is equally tasteful.

This Sheffield Lab release is the debut recording of the Chicago Symphony Winds, a group organized in 1978 by oboist Ray Still. Judging from the unusually high quality of the playing on this album it is hoped that this group will see the issuing of many more records in the future.

Buddy DeFranco Presents John Denman (and) John Denman Presents

Buddy DeFranco. Buddy DeFranco, John Denman, clarinets. LUD Records, LUD 101, LUDCO, P. O. Box 44056, Tuc¬ son, AZ 85733. $10.98 (includes shipping).

Few of Buddy's fans are aware of this recording from the summer of 1983, but it is a clarinetist's tour deforce, one of a kind, and an absolute must for anyone with an interest in jazz. The differences in the playing styles of the two men are readily identifiable as John's vibrato is faster than Buddy's, and Buddy's overall approach to the clarinet is more loose and relaxed. It is possible on first hearing, however, to occa¬ sionally confuse the playing of the two in fast passages, a great credit to John's jazz ability.

Buddy's influence on John's playing is very obvious throughout the album, beginning with John's first solo run up to C4, a near copy of a solo Buddy recorded in 1949 in a tune called Extrovert. Buddy's influence on jazz overall has been more subtle, but in the past thirty-five years no indivi¬ dual has done more than Buddy DeFranco to breathe life back into the clarinet as an accepted jazz vehicle.

The technical quality of the record is excellent, and in little time it will surely become a great collector's item, as are many of Buddy's other records.

The tunes include Whirligig (Dave Plank), Close Enough for Love (Johnny Mandel), The Lovely Years (Keith Greko), Don't Get Around Much Anymore (Duke Ellington), Unauthorized Touching (Bach/Denman), Lover Man (Jimmy Davis), Capric- cio (Paganini/Rachmaniov/Hughes), But Not for Me (George Gershwin), and Mar Descanqado (Eddie Higgins).

By Keith M. Lemmons, The University of New Mexico

The Amsterdam Nonet. Franz Berwald, Septet in B-flat Major; Sergei Prokofiev, Overture on Hebrew Themes, Op. 34; Leo& Janatek, Concertino. Recorded 1982. Nonesuch Records, No. 7559-71412-1.

The Amsterdam Nonet is a famous ensemble of chamber music players formed in 1970 consisting of members of the leading Dutch symphony orchestras as well as other musi¬ cians who specialize in chamber music. They perform a wide range of repertoire from all periods and a wide variety of combinations. The clarinetist on this recording is Harry Bijl- holt.

Franz Berwald (1796-1868) was a Swedish composer who was not readily accepted in his lifetime. I find Berwald's "Grand" Septet in B-flat quite unmistakable, beautiful, and enjoyable. It is a three-movement work which is performed on this disc with great understanding, enthusiasm, and affec¬ tion. Within each movement are bold shifts within the tonal centers. This particular performance is exciting because the finesse of the technical passages and the inspiring blend and balance are outstanding. The polished discipline that the Amsterdam Nonet enjoys is apparent in their stylistic con¬ cept of this Septet. The performance is commendable and brings to light a work that deserves to be performed.

Side two begins with the ever-delightful Prokofiev Overture on Hebrew Themes, Op. 34. This successful recording joins the ranks of the many others available for this particular work. It is interesting to note that Prokofiev made his own orchestral version of this in 1934; in my opinion the original version is much to be preferred. The deployment and handling of the musical ideas by the Amsterdam Nonet is excellent and re¬ news a love for this most entertaining work.

46 — The Clarinet

The Jana£ek Concertino asserts itself as a truly worthwhile and mature composition. Written after Jana£ek's 70th birth¬ day, it includes folksong material, warm and lyrical. The Amsterdam Nonet gives a performance of solidity, rhythmic and imagination. The coloristic contrasts and dissonances that Jana£ek intended are performed with understanding and sensitivity. The second movement is a duet between E-flat clarinet and piano; the final two movements are for full ensemble. The Amsterdam Nonet gives a performance which is brilliant and strikingly colorful.

The disc offers three works of engaging interest for any clarinetist and makes it particularly valuable. The perfor¬ mances are extraordinary and impressive. The sound is full and immediate, the surface is clean cut and quiet. Highly re¬ commended.

By Linda Pierce

Recital for Clarinet and Piano. Schumann, Fantasiestucke, Op. 73; Carl Reinecke, Sonata "Undine, "Op. 167, Lefevre, Sonata, Op. 12, No. 2; Egon Wellesz, Zwei Stiicke, Op. 34; John Mayer, Dance Suite. Georgina Dobree, clarinetist, and Susan Bradshaw, pianist. Chantry Records, CHT 008. Available from Chimes Music Shop, Dept. C, 65 Maryle- bone High Street, London WIM3AH.

This recording represents a quick historical tour through the various styles of clarinet writing. Included for the baroque/classical period is the Lefevre Sonata, Op. 12, No. 2. This is one of twelve sonatas included at the end of Lefevre's Method written for the Paris Conservatory, published in 1802. The romantic style is typified by the Schumann and Reinecke pieces. Although the Fantasiestucke is well known, the jacket notes point out that because of the overlying alter¬ ations on the original score (located in the Bibliotheque Na- tionale in Paris) there is still speculation as to what the final version should be. The Sonata "Undine" is reminiscent of Brahms and, in fact, Reinecke's Introduction and Allegro Appas¬ sionato, Op. 256 was dedicated to Richard Miihlfeld. Pro¬ gressing on to serialism, Wellesz has a less rigid style than Schonberg (his teacher), but nevertheless falls audibly into the category. Jacket notes indicate a misprint for the tempo of the second movement which should be to the quarter note rather than the eighth note. Mayer's Dance Suite (written twenty-five years after his Raga Music) emphasizes the trend to explore the Indian pitch and rhythmic organization. The writing is straight forward with no elaborate extensions of the instrument.

Miss Dobree certainly must be among the most diversified and industrious clarinetists. She realized the bass for the Lefevre Sonata, commissioned and premiered the Mayer, consulted the original source for the Schumann, wrote ela¬ borate, pertinent jacket notes, gave lively renditions of each style, and recorded on her own label, Chantry Records. This is the eighth recording appearing with the Chantry label. Currently a professor at the Royal Academy of Music, Miss Dobree has commissioned other composers and has received honors in performance of contemporary music. Oxford Uni¬ versity Press is publishing the Lefevre, and her editions are listed in the catalogues of Schott, Oxford University Press and Musica Rara.

Music for Low Clarinets. J. S. Bach, Allegro from Viola da Gamba Sonata No. 1; John Rarig, Introduction and March; William Schmidt, Sonatina; Frank Campo, Dualidad; Sharon Davis,

Three Poems of William Blake; F. Chopin, Etude, Op. 25, No. 7; Boris Pillin, Scherzo Barbara. WIMR-10. Julian Spear, alto, bass, and contrabass clarinets; Sharon Davis, piano; Delcina Stevenson, soprano; and Mitchel Peters, percus¬ sion. Available from Crystal Records.

The record jacket indicates that this is the first recording to feature solo repertoire for the alto, bass and contrabass clarinets.

The original compositions are atonal and, with the excep¬ tion of the Frank Campo Dualidad and a flutter tongue in the Davis Three Poems, without sound effects. Also there are two transcriptions by pianist Sharon Davis. While the Bach seems too cumbersome for the alto clarinet (when one re¬ flects on the sound of the original viola da gamba), the Cho¬ pin is an expressive and successful arrangement for bass clar¬ inet.

Julian Spear's forte seems to be the bass clarinet and does best when teamed with John Rarig. The rich array of color¬ ful effects available on the bass clarinet is exemplified in the Campo piece with bends, multiphonics, etc., subtly blended with various percussion instruments such as wood block, cymbal, and drum.

The alto, bass and contrabass are all featured in the Davis Three Poems, and the contrabass in the William Schmidt piece. Although they have their fleeting moments of show¬ manship, it may be up to the other compositions to glamor¬ ize these instruments. Mention is made in the brief program notes that the music performed on this recording is available through Western International Music, Inc., 2859 Holt Ave.,

Leon Lester Editions

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Elementary to Medium Advanced

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The Clarinet — 47

Los Angeles, CA 90034. The unusual instrumentation would make this an interest¬

ing addition to any clarinet library.

By William E. Grim, St. Andrews Presbyterian College

Clarinette et Piano. Heinrich Baermann (1784-1847), Adagio en Mi bemolMajeur and Karl Baermann (1811-1885), 7 Etudes ro- mantiques. Op. 64. Claude Faucomprez, clarinet, and Alain Raes, piano. Zephyr Z21 stereo.

This is an excellent album of clarinet compositions from the romantic era which were designed to display fully the prowess ol the virtuoso performer. The Heinrich Baermann Adagio was falsely attributed to Richard Wagner for many years and the Karl Baermann Etudes have long been in print as part of the Baermann IV method book. Few clarinetists, however, have deemed these works to be worthy of record¬ ing. The performances on this album prove that the compo¬

sitions of the Baermanns possess much greater technical and musical value than was originally thought. Faucomprez' stylistic interpretation is quite good and the articulation is simply superb. Only a few minor problems of intonation mar this otherwise first-rate recording.

Kjell Fageus, clarinet and Stefan Bojsten, piano. Francis Poulenc, Sonata; Claude Debussy, Premiere Rhapsodic; Lille Bror Soder- lundh (1912-1957), Liten svit; and Csaba Deak, Sonatina for Solo Clarinet and Carnival of Venice (variations for clarinet and piano). Fermat FLPS 52.

Kjell Fageus is the American-trained first clarinetist of the Royal Opera Orchestra of Stockholm. His performances of the Poulenc Sonata and the Debussy Rhapsodic are technically correct but also rather perfunctory and unidiomatic. The Poulenc especially lacks the ease and savoir-faire so necessary for a successful performance. Much more engaging are the recordings of the Soderlundh Liten svit and Deak's Sonatina and Carnival of Venice Variations. The Liten svit is an excellent work in the post-romantic mold while the Deak Sonatina is an unaccompanied composition which displays a stylistic affini¬ ty with the wind compositions of Carl Nielsen. Both of these works are deserving of wider performance. Although this al¬ bum is attractively produced, it suffers from a dearth of pro¬ gram notes, especially concerning the two lesser known com¬ posers and their works.

NOTE: Both these recordings are available from Records International, Post Office Box 1140, Goleta, California 93116-1140.

By Jerry Pierce

Johann Hummel (1778-1837): Two Serenades. Serenata No. 1 for Violin, Clarinet, Bassoon, Guitar, and Klavier. (19:09); Serenata No. 2 for Violin, Clarinet, Bassoon, Guitar, and Klavier. (19:14). Consortium Classicum, Dieter Klocker, Director and Clarinetist; Ranier Kussmaul, Violin; Karl Ot¬ to Hartmann, Bassoon; Werner Genuit, Klavier; and Jan Goudswaard, Guitar. MHS Stereo 4195. Musical Heritage Society, 14 Park Road, Tinton Falls, NJ 07724. Price $5.45 members, $8.50 non-members.

The two Serenatas of Hummel are pure joy to listen to. This recording is yet another example of the superb standard of playing and unusual choice of important repertoire that we have come to associate with Dieter Klocker and his Consorti¬ um Classicum.

Hummel was a major composer, a prize pupil of Mozart, Beethoven, and Haydn. His clever interweaving of themes from his teachers' works with material of his own makes these Serenatas all the more enjoyable. What a shame that the music is not more well known. I would assume that difficul¬ ties in obtaining editions from the publisher, Artaria in Vi¬ enna, and the rather "unusual" instrumentation are two reasons why they are rarely performed. Prof. Klocker and his colleagues are not only doing us a great service, but they sound as if they are having a thoroughly enjoyable time pre¬ serving our heritage. The best part is that all of this comes at the price that you can afford.

Carl Maria von Weber (1786-1826): Clarinet Quintet in B-flat Major, J. 182 (28:56); Trio in G minor for Flute, Violoncello and Piano, J. 259 (23:28). Anthony Pay, Clarinet; Marcia Cray- ford, 1st Violin; Rosemary Furniss, 2nd Violin; Roger

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The organization, under its present structure, provides the findings of scholarly research and keeps its members updated on new music, new products, and new techniques. To accomplish its goals, the North American Saxophone Alliance publishes a quarterly magazine, The Saxophone Symposium, presents meetings and conferences at the state, regional, and national levels, and informs its members of saxophone news from around the world.

Both Full and Subscription memberships are available to prospective members. Full membership entitles a member to receive The Saxophone Symposium, entrance into meetings and events, and special rates for any materials the orgainzation publishes. Subscription members receive The Saxophone Symposium maga¬ zine. Only non-saxophonist music educators and libraries are eligible for Subscription membershps.

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48 — The Clarinet

Chase, Viola; Christopher van Kampen, Cello; Judith Pearce, Flute; and Ian Brown, Piano. MHS Stereo 4936A. Musical Heritage Society, 1710 Highway 35, Ocean, NJ 07712. Price, $5.45 members, $8.50 non-members.

I must admit that I was a bit hesitant to undertake a re¬ view of yet another recording of the Weber Quintet. The mu¬ sic is one of the great showpieces for clarinet, and there are many versions to choose from. Dangain, Geuser, Klocker, Stahr, and Wright all come readily to mind. Ah, but from the opening bars I liked this version. The string quartet knows the work and they play as a rehearsed ensemble. More than a few performances of the Weber by some of the world's great players have faltered because the performer was sad¬ dled with a mundane quartet. This is not the case here, and Anthony Pay's playing deserves this support. His tone is dark, big, and without the "English" vibrato. His tech¬ nique, intonation, and interpretation are sure, and his fast tempos are in the "death defying" class. All of this is helped by sympathetic recording techniques. Above all, though, the attractiveness of this disc is the precision of the ensemble.

Side two of the recording is the Weber Trio in G minor for Flute, Cello, and Piano. This lesser known work is also played in convincing style and makes a good coupling of two Weber works. (It also provides food for thought as to how a clarinet arrangement of the flute part might sound.)

By Lyle Barkhymer, Otterbein College

Brahms, Clarinet Quintet in B minor, Op. 115, and Clarinet Trio in A minor, Hyperion A66107, distributed by Harmonia Mundi USA, 2351 Westwood Blvd., Los Angeles, CA 90064.

This gorgeous recording of both Brahms' Quintet and Trio by the eminent English artist, Thea King, sings its way into the listener's heart. It is also a more than usually generous offering of music on one disc. What makes this particular Brahms so enjoyable?

Right from the first "allegro" of the Quintet Miss King plays with a delicate feeling and idiomatic rubato which can only be characterized by the subjective word "musical." Her companions in the quintet, the Gabrieli Quartet, match her well and join to form a unified approach. It goes without saying that all the technical elements of the score are in their rightful place, but this rendition goes beyond mere technical accuracy.

As good as the Quintet is, the Trio is even better! The clear, rich tone which one associates with Miss King finds its part¬ ner in the playing of cellist Karina Georgian whose resonant and burnished sound is perfectly suited to Brahms' style and atmosphere. This performance is so effortless, so natural, and so satisfying. The phrasing breathes, the dynamics help the musical expression, and everything else falls into place.

If there were to be a few small improvements in the re¬ cording, one might hope for a less "grainy" pickup of the strings on the Quintet on side 1. Also, the cello seems a little under volume by comparison to the clarinet on side 2. In the intense middle section of the Quintet's "adagio," the clarinet tone tends to spread during the forte running passages. The jacket notes give an interesting and helpful discussion of the Ino but neglect the Quintet for some reason.

Still, these are minor quibbles in the larger context of a brilliant effort. Miss King's recording is highly recommend¬ ed.

OBERLIN

It's important for a clarinetist to have the space to grow. The Oberlin Conservatory offers its students the most enriching kind of space. Musical Space. Musical groups and performing opportunities abound from early music to jazz ensembles, woodwind quintets to wind ensembles, chamber orchestras to full orchestras and student touring ensembles. There s room to grow in 182 practice rooms, the extensive music library and the finely-equipped electronic music studios. Academic Space. The Conservatory shares a spacious campus with Oberlin College where students can take advantage of a full offering of liberal arts courses. A five-year double degree program provides both the Bachelor of Arts and the Bachelor of Music degrees. Personal Space: Campus life is rich and varied, covering a wide range of extra- curricula, housing and dining options. Lawrence McDonald Professor of Clarinet Student of Robert Mar- cellus, Clark Brody, Jerome Stowell. Solo & chamber music per¬ formances at the Library of Congress, Smithsonian Institu¬ tion, Alice Tully Mall and Aston Magna. Member, Oberlin Wood¬ wind Quintet. Principal clarinet, Toledo Sym¬ phony Orchestra and Peninsula Festival Or¬ chestra. Recordings for Gasparo, Orion and Advance. "A wonderful musician and master of his in¬ strument" Richard Dyer, Boston Globe.

For more information about the Conservatory and regional auditions write:

Michael Manderen, Room 302, Oberlin College Conservatory of Music, Oberlin, Ohio 44074 (217) 775-8413 Please send Pictoral Catalogue. name Street City State Zip

The Clarinet — 49

Book reviews

By John R. Snyder

Charles G. Huebner and Gene E. Beckwith. The Comprehen¬ sive Guide to The Repair of Musical Instruments, Volume One. The Clarinet & Flute. HB Musical Enterprises, Ltd., P.O. Box 328, Red Wing, MN 55066, 1983, viii plus 331 pp., $25, or $30 foreign (includes postage & shipping).

This book is divided into a section on clarinet (pp. 1-198) and one on flute (pp. 199-279). In this review I shall mainly deal with the section on clarinet. Essentially the book is a de¬ tailed description of standard shop techniques as used by professional repairpersons on a commercial basis. It does not cover the painstaking techniques and "secrets" of such arti¬ sans as Frank L. Kaspar, Hans Moennig, or Edward Planas of England. For instance, there is no mention of handmade pads, undercutting of tone holes, or of more recent discover¬ ies such as nylon or teflon plugs and bushings.

The book deals with many things that a professional clari¬ netist would rarely if ever encounter, such as broken sockets and tenons, chipped tone holes, etc. Its treatment of these problems and other major disasters is very good, giving the average performer a good look at structural repairs, but less so at "fine tuning" the clarinet. A rather large amount of text is devoted to appearance only with some advice that could be considered controversial. I leave it up to reader to decide whether or not a wooden clarinet should be washed with soap and water and then have its bore sanded. Thus, the book is what it claims to be: more of a guide than a means of learning how to repair.

Having said all this I must add that it is as good as many others of the type. Surely it is as impossible to write a defini¬ tive book on repairing as it is to write a definitive method on playing. There are simply too many variables and different tools and techniques. In order to learn repairing well, one would have to study with a skilled artisan. In fact, the au¬ thors maintain a repair school.

I should say that the book is extremely interesting and in¬ formative, although its practical value is less certain due to reasons just stated. The typescript is clear and easy to read, as are the charts and illustrations. Photographs tend to be too dark (not having enough contrast) and are not labeled, re¬ quiring the reader to search through the text to find out what they mean. An index would have been helpful but the de¬ tailed Table of Contents and lengthy Glossary serve their purpose well. The section on flute is in the same vein as the one on clarinet, perhaps less detailed. To their credit the au¬ thors refer the reader back to the first section when similar advice holds instead of merely repeating the same text. The flute as a rule needs completely different repair techniques than the clarinet, and so I pass on that part of the book.

To conclude, I would like to list two books on repairing. When the present volume is assimilated with these its value is much enhanced.

Brand, Erick D. Band Instrument Repairing Manual. Elkhart, IN, 1946 and subsequent printings. From author. Still the most important single text on repairing, although outdated in places.

Schmidt, Robert. A Clarinetist's Notebook. Vol. I: Care & Re¬ pair. From author: Ithaca, NY, 1971 and subsequent edi¬ tions. Author observed Hans Moennig and gives his impres¬ sions of the latter's techniques. Not organized well, though

still contains much useful and even esoteric advice. After Brand, this book and the present one under review would be complementary and equal in value, although in different ways.

(John R. Snyder studied clarinet with Wm. Scarlett at the University of Tennessee and John Mohler at the University of Michigan. He studied repairing with Frank L. Kaspar in Ann Arbor, Michigan and is presently active in the Knoxville, Tennessee area. Ed.)

By Dan Leeson

David E. Etheridge, Mozart's Clarinet Concerto, The Clarinetist's View. Pelican Publishing Company, P. O. Box 189, Gretna, LA 70053, 1983, 192 pp., $19.95.

This book has a magnificent objective. Etheridge's inten¬ tions were to provide a forum within which some of the world's leading clarinet players would discuss their interpre¬ tations of the Mozart clarinet concerto in detail. Then, by sharing these analyses with us, our own interpretations of this exquisite composition could be broadened and deep¬ ened. Etheridge selected big guns: (1) Stanley Hasty, profes¬ sor of clarinet at the Eastman School of Music; (2) Robert Marcellus, professor of clarinet at Northwestern University and formerly principal clarinet with the Cleveland Orches¬ tra; (3) Anthony Gigliotti, professor of clarinet at Temple University and principal clarinet with the Philadelphia Or¬ chestra; (4) Harold Wright, principal clarinet with the Bos¬ ton Symphony; (5) Rudolf Jettel, formerly professor of clari¬ net at the Vienna Academy and Conservatory and retired principal clarinet with the Vienna Philharmonic; (6) Ulysse Delecluse, formerly professor of clarinet at the Paris Conser¬ vatory; (7) Jack Brymer, principal clarinet with the London Symphony; and (8) Michele Incenzo, professor of clarinet at the Rome Conservatory.

That's an impressive group and I was most eager to hear the views about one of my favorite compositions from these distinguished teachers and performers. It would not matter if they presented views in conflict with mine. On the contrary, documenting multiple perspectives of this work is a worth¬ while effort because one can learn a great deal from comple¬ mentary interpretations of the same composition. No per¬ spective of any work should be so frozen or inflexible that it cannot be influenced. And the views of these experienced players would add a handsome body of detail to everyone's understanding of K. 622, a sort of neatly packaged set of eight master classes on the finest composition in the clarinet¬ ist's repertoire.

I mention this so that the reader will appreciate my impat¬ ience to begin reading the book. I entered it with high hopes, a positive attitude, and a genuine desire to view it favorably. But I finished the book with both discouragement and disap¬ pointment. Etheridge has produced a document so much less valuable than it should have been that I am sick to think of such a heady information resource put to this meager use. In short, I do not recommend this book. It is so undistinguished in its execution that what should be a treasure trove of valua¬ ble information appears to me to be a ponderous morass try¬ ing to pass for both scholarship and literature. It is neither.

Etheridge begins with a chapter entitled "An Introduction

50 — 1'he Clarinet

to Mozart's Clarinet Concerto." In it he explains the origin of the work, discusses Mozart's use of the clarinet, gives a breakdown of each movement into its various structural sec¬ tions, and comments on some of the harmonic, rhythmic, and ornamental details which form the building blocks of the composition. Unfortunately, the chapter is so badly written, ponderous, poorly structured, old fashioned, and inaccurate, that one loses courage before Chapter 2 begins. There is al¬ most no page without factual error. A sampling of the kinds of mistakes to be found in what should be an absolutely ac¬ curate handling of the subject follows. Some mistakes are small. Others are more serious. None should exist.

(1) Alfred Einstein did not edit the sixth edition of the K6- chel catalog (p. 12, footnote 7); he edited the third edi¬ tion; Giegling, Weinmann, and Sievers edited the sixth edition;

(2) Mozart's first original work to include the clarinet was not the Divertimento, K. 186 (p. 14), it was the Divertimen¬ to, K. 113;

(3) the names/dates mixup as regards Stadler (p. 15) is scan¬ dalous: Johann Schink's first name is misspelled; Gabri¬ el Wilhelm Steinfeld's name is incorrectly given, the fact that the latter is a pen name for the former does not ap¬ pear to be known to Etheridge; and the date of Stadler's National Court Theatre concert is in error by 10 days;

(4) Stadler was acquainted with the basset horn long before Etheridge's stated date of 1785 (p. 16);

(5) there is no clarinet in the Divertimenti, K. 439b (p. 17); the works are scored for three basset horns;

(6) the Serenade, K. 361 is not for thirteen woodwinds (p. 16); it is for eight woodwinds, 4 brass, and a string bass;

(7) Etheridge states (p. 18) that there is "some evidence" that Mozart wrote the clarinet concerto for a basset clari¬ net; the evidence is overwhelming and it is unworthy of him to pussy-foot around this documented and indispu¬ table fact as if it were an unproved hypothesis of only passing interest to the history of Mozart's clarinet con¬ certo;

(8) two of the structural sections of the first movement of the clarinet concerto are incorrectly specified (p. 26); the third orchestral ritornello does not conclude at measure 248; it concludes at the end of measure 250; the final or¬ chestral ritornello does not begin at measure 344; it be¬ gins at measure 343;

(9) there is not now, there has never been, and there will never be a cadenza in Mozart's clarinet concerto (p. 26 and elsewhere in this book); the item that Etheridge re¬ fers to is termed an "Eingang" and the things that the

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The Clarinet — 51

performer is expected to do in an Eingang are quite dif¬ ferent than the things that the performer is expected to do in a cadenza.

As for the style of presentation, the book is both wishy- washy and filled with sentences so convoluted as to imperil their very meaning. Consider the following (p. 21): "The melodic element of the concerto appears to be highly calcu¬ lated in detail for the clarinet. In the melodic line of the work there appears to be no expressive field of the clarinet to which Mozart did not contribute in a perfect way." I think what Etheridge means is "Mozart writes well for the clari¬ net," but I am not really sure. And the leaden nature of the prose is so unending that, by the time one has read half a page, much less half a chapter, one is overwhelmed by the ponderous, clumsy handling of the English language. It re¬ minds me of an aria in Gilbert and Sullivan's Patience where Bunthorne sings, "If this young man expresses himself in terms too deep for me, why what a most particularly deep young man, this deep young man must be." And the foot¬ notes!! In a chapter of only 27 + pages, there are to be found 61 footnotes, many of which simply do not cite anything val¬ uable enough to have been so noted. Some of the footnotes cite material which has been superceded by more recent scholarship and, in several cases, secondary sources are pre¬ sented instead of the original ones (for example, Anderson's translation of the Mozart letters, Townsend's translation of Jahn's Mozart biography, and the Blom, Branscombe, and Noble translation of Deutsch's documentary biography of Mozart).

Things do not get much better in the chapters devoted to the views of the eight interviewees (although there are a few positive things to be said for this majority portion of the book). I admit that it is extremely difficult to precisely de¬ scribe how another person plays a work, even when the source of that description is the player. Such analyses require imaginative presentation, clarity of expression, and lightness of touch, qualities lacking in Etheridge's writing style. I quote almost the complete opening material from the inter¬ view with Stanley Hasty so that the reader can see what I mean when I accuse Etheridge's writing style of being ob¬ scure:

"The appoggiatura figure of the principal theme, found in measures 57 and 58 and in subsequent statements in the re¬ mainder of the movement, receives special attention [from Hasty]. It serves as a basis for the determination of emphasis of both pitches and dynamic phrasing in phrases of similar construction and for the treatment of other nonharmonic tones. The successions of major or minor thirds near the be¬ ginnings of the subordinate theme group frequently appear within developmental material in the movement. Conse¬ quently, they are somewhat isolated by the added expression that they receive."

I hasten to add that I have had the pleasure of playing with Stanley Hasty. He does not talk like that, explain like that, or teach like that. So what does this jumbled, confusing text mean? I have no idea.

A positive aspect of the book reveals itself if one persists with it. Once Etheridge has presented his difficult-to- understand interpretations of Hasty's views, he has a basis for cumulative comparisons. So, when he begins Marcellus' chapter, he can and does contrast the two views. And when Gigliotti's perspectives are given, they are presented in light of the views of the two previous players, and so on. By the

time Etheridge gets to Incenzo's chapter, he has given some marvelous contrasts to think about. But it is a struggle to get that far in the book and the rewards are quite modest. One other aspect of these chapter-by-chapter contrasts deserves mention, and that is the almost reverential acceptance by the players of the authority of Breitkopf & Hartel's edition of the concerto. I don't know why Etheridge or his interviewees are so impressed by an authority that it is not deserved, but they seem to be. The only real advantage of this edition is that it happens to be very nicely printed: big notes, good page turns, etc. It is no more authoritative (or less so) than any other edition since none of them are based on the autograph document.

I warn the interested party that this is not a book for bed¬ side reading. It demands constant checking back and forth between text and examples (the two often not being on the same page), continual reference to a score of the concerto (one with measure numbers), intense concentration, and multiple readings of the many unclear passages. But, for anyone willing to put forth the effort, there are things of val¬ ue here. The value lies not in the truth of what is said but in the range of perspectives that experienced performers can bring to the same material. Consider, for example, trill exe¬ cution: some of the players execute trills from above the note, others from the note, some make that decision based on the direction of the theme at the moment the trill is encoun¬ tered, some perceive trills romantically, others classically, etc. It is not that I was unaware of these ornamental varie¬ ties, but there is some comfort in realizing that among such distinguished performers there is no uniform understanding of how this ornament is executed, and this comforts my own insecurities about this element of performance practice.

The musical illustrations in the book are outstanding: neat, clear, and readable. Occasionally, however, they are badly placed in that they are not near the text which refers to them. Further there are mistakes to be found in them: see ex¬ ample 3.28 which is a two-line illustration with the first line appearing on p. 71; it contains a trill symbol associated with the second line which appears on p. 72. See also example 3.36 where the last note of m. 169 should be "f" and not "g." There are also references in the text to examples which do not exist and examples present for which I can find no textual reference.

It is pointless to continue with further analysis of how this book fails in so many ways and in so many places. But I would be remiss if I did not point out another party who must share the blame in this enterprise. That party is Pelican Publishing Company of Gretna, LA, the book's publisher. They have failed in their book-publishing role by releasing such an incomprehensible document. It is the function of a publisher to provide competent editorial guidance, the editor being concerned with the presentation of the material and the author concerned with its content. While editors do not write the text, their function is to be critical of it if as, in the case at hand, it borders on the unreadable. The only way that Pelican Publishing Company could be unaware of the difficulties of this book is if they neither read it critically nor sent it out to a panel of unbiased reviewers before agreeing to publish it.

If there is one thing that the clarinet playing community needs, it is a good book on the Mozart clarinet concerto: the circumstances of its compositions, its architecture, and a ser¬ ies of clearly understandable and enlightened performance perspectives from players of great skill and experience. This

52 — The Clarinet

is not that book.

The author replies...

I am pleased that in the opening remarks of his review of Mozart's Clarinet Concerto my good friend Dan Leeson has rec¬ ognized the value and need of a comparative study which fo¬ cuses on the interpretive aspects of Mozart's Concerto for clar¬ inet. The documentation of multiple perspectives of the Con¬ certo, especially as performed by eight of the most respected clarinetists of our time, should indeed broaden and deepen the knowledge of those who are involved with the perfor¬ mance and teaching of one of the most frequently performed and most revered works in the clarinet literature.

Mr. Leeson states further into his review: "For anyone willing to put forth the effort there are things of value here." He then cites the differences among the players in their re¬ spective approaches to the trills in the concerto. I must add that each of the eight chapters regarding the performers deals with far more items than the trills. Each of these chapters, which comprise the main body of the book, includes the unique aspects of the performers' approach to style, dynam¬ ics, articulation, dynamic phrasing, form, notational chang¬ es and the cadenza in the Adagio movement. Regardless of its German terminology, the eight performers and readership call it a cadenza. Perhaps most importantly each chapter of this section contains an overview in which the artist-teacher's general philosophies of clarinet performance and, more spe¬ cifically, their approach to Mozart's music are presented. These overviews often cite valuable interpretive advice passed along by conductors with whom the clarinetists have performed the work.

In his review Mr. Leeson includes only minimal reference to the main body of the book and fails altogether to mention the final chapter which draws comparative conclusions about the interpretations discussed.

I am grateful for Mr. Leeson's corrections of the factual errors in the introductory chapter. These will be considered in future editions of the book. Concerning my treatment of the basset-clarinet: While recent and totally conclusive evi¬ dence supports theories that the Concerto was composed for the basset-clarinet, at the time of writing none of the eight performers paid extensive homage to these suppositions through the use of transpositions such as seen in Alan Hack¬ er's excellent edition.

Each of the performer-subjects in the book was given an opportunity to make corrections and additions to the materi¬ al which dealt with them. The artists involved (including Stanley Hasty!) took pains to ensure that the material re¬ garding them was both accurate and clearly stated. Throughout the book an attempt was made to present the material in an organized and impartial manner. Mr. Lee- son's ill-mannered statements regarding writing style are simply not true.

Mozart's Clarinet Concerto was expressly written for those whose primary interest in the clarinet involves either playing or teaching the instrument. By profession (He is employed by IBM.) or avocation (He is an amateur musical scholar.), Dan Leeson is neither of the above. I feel strongly that those readers for whom it was intended will both enjoy and benefit musically from their study of this book.

David Etheridge

K

MUSIC for the CLARINET by

MEYER

UPFERMAN

UNACCOMPANIED CLARINET Moon/lowers, Baby! (1983) Jazz Essay

Five Little Infinities (1981)* Infinities #33 (1982) Four Flicks (1980)* Five Singles (1968)*

CLARINET & PIANO Sound Objects #4 (1978) Four on a Row (1965)*

CLARINET & FLUTE Four Constellations (1970)*

Four Charades (1959)* CLARINET & PICCOLO

Short Shrift (1970)* CLARINET & BASSOON Duo Divertimento (1947)* CLARINET & CELLO

The Good Friends Duo (1972) Air Phantoms (1981)

CLARINET & GUITAR Premeditation (1975)

CLARINET & SOPRANO Miickenschwarm (1982)

Three Blake Songs (1971) CLARINET & TAPE Soundspells #6 (1982) TWO CLARINETS

Four Double Features (1970)* CLARINET & OBOE

Infinities 32 (1981) CLARINET & VIOLIN

The Garden of My Father's House (1972)*

Three Foe Two (1970)*

SONGS The Conceptual Wheel (1968)*

(Sop., Clar., & Pno.) cycle of 3 Adjustable Tears (1977)

(Sop., Clar., & D Bass) Jazz Cycle Sixth Sonnet (1981)

(Sop., Clar. & Cello) aria CLARINET, FLUTE & OBOE

A Spring Trio (1981) Windspells (1982)

(also Picc., Alto Fl., Eng. Hrn., & E-flat Clarinet)

CLARINET & STRING TRIO Poetics #5 (1983)

TWO CLARINETS & PIANO Infinities #31 (1981)

MIXED TRIOS Tunnels of Love (1970)

a jazz concerto (Clar., Bass & Drums)

Torchwine (1982) a secular cantata

(Basset Horn, Sop. & Piano) Sound Objects #8 (1978)

(Clar., Viola & Bass) Trio Concertante (1948) (Clar., Flute & Violin)

Poetics #6 (1983) (Clar., Viola & Piano) MIXED QUARTETS

The Red King's Throw (1977) (Clar., Cello, Pno. & Perc.)

Soundspells Four (1982) (Clar., Oboe, Cello & Piano)

NEW WORKS Clarinet Concerto (1984)

(Clar. and Orch.) Image (1984)

(Clar. and Viola) Five Flings (1984) (Clar. and Piano)

Those pieces marked with an (*) are available through: Boston Music Co.

Airport Drive, Hopedale, MA 01747 (617) 478-4813 All other works may be ordered by writing or phoning

MEYER KUPFERMAN 86 Livingston St., Rhinebeck, NY 12572

(914) 876-6295 or (212) 724-5357 request tape or disc recordings can be made available for most of these works.

Composer's reprints may be obtained if any works are out of print.

The Clarinet — 53

New music reviews

By Fred Ormand, University of Michigan

Johann Baptist Schenk (ed. R. P. Block and H. Voxman), Concertante in E-flat for Clarinet, Violin, and Orchestra (re¬ duced for Clarinet, Violin and Piano). Musica Rara, Mon- teux, France (U.S. Agent Musica Rara-U.S.A., 305 Bloom- field Avenue, Nutley, NJ. 07110 201/667-0956), 1982, $18.75.

In the preface to this edition R. P. Block and H. Voxman provide the following information:

Johann Baptist Schenk was born 30 November 1753 in Wiener-Neustadt and died 29 December 1836 in Vienna. He served as a choir boy in his youth and later studied violin. From 1774 to 1777, he was a student of Georg Christoph Wagenseil. A mass of Schenk's, performed in 1778, launched him on a successful career as a composer. He wrote some additional pieces of sacred music, then turned his attention to composing for the theatre. His Singspiele and operas were quite popular. He did, how¬ ever, compose for a variety of media. His instrumental works include a Concertante for clarinet, horn and orches¬ tra, a Quartet in FMajor for flute, 2 English horns and bas¬ soon, II Matrimonio Segreto for oboe, violin, viola and cello (1792), and an Andante Cantabile for clarinet and orchestra.

Today, Schenk is perhaps best known for having un¬ dertaken to secretly teach the young Beethoven, who had become discouraged with his progress under Haydn.

The Concertante is in six movements: Allegro con spirito, An- dantino, Menuetto, Andante cantabile, Menuetto, and Rondeau.

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The number and length of the movements give this composi¬ tion the feeling of a serenade or divertimento rather than a concerto. The style is somewhere between Rococo to early Classic. Technical demands for both clarinet and violin are moderate with only a few difficult spots, especially in the fi¬ nal movement.

While not a great musical composition, this work adds to an otherwise limited solo repertoire for clarinet and violin with orchestra. (I presume that the orchestral scores and parts could be located by writing to H. Voxman.) The work, however, has charm and grace. It could effectively feature two fine soloists and is a well-edited publication.

Heinrich Baermann (ed. John P. Newhill), Introduction and Polonaise, Op. 25 for Clarinet and Piano. Musica Rara (Mu¬ sica Rara-U.S.A., 305 Bloomfield Avenue, Nutley, N. J. 07110 201/667-0956), 1981, $7.50.

In his preface John P. Newhill states, "Like many players of his time, Baermann composed a number of pieces to show off his powers of expression and his virtuosity. This Introduc¬ tion & Polonaise is one of these; it must have been popular, as it was published by four publishers — Breitkopf & Hartel (in 1820), Costallat, Richault and Schott."

This publication is beautifully edited. Editorial changes and corrections are clearly marked for both the clarinet and piano parts.

The Introduction and Polonaise is similar in technical difficul¬ ty to the third movement of the von Weber Second Concerto. Musical content is somewhat lacking. Good fun, but not pre¬ tentious.

Giacchino Rossini (arr. Yona Ettlinger), Sonata No. 3 for clarinet and piano. Boosey and Hawkes, 1982, $7.75.

This music will be familiar to most clarinetists as a quartet for flute, clarinet, bassoon and horn, originally one of a set of string sonatas Rossini wrote when he was only twelve years old. The sonatas were scored for two violins, cello, and bass. Later Rossini created the version for winds.

This transcription presents the clarinetist with a sonata from a stylistic period where no original sonatas for clarinet exist.

As with previous editions by Yona Ettlinger, this is very well done, i.e., with good piano writing and excellent editing for clarinet. Since the string and wind quartets have the ad¬ vantage of great variations of tonal colors, the clarinetist must use good musical imagination and skill to achieve a tru¬ ly exciting performance. The third movement is especially well suited for clarinet. This is enjoyable music, well-adapted for clarinet.

J. S. Bach (arr. Thea King), Duets for Two Clarinets. Boosey and Hawkes, 1981, $6.00.

This is an excellent collection of music, most of which has not previously appeared in this form. All but two of the four¬ teen pieces are taken from Bach's keyboard music. They have been carefully edited, allowing for breathing necessities of the wind player while maintaining the musical line and phrasing. I particularly like the music taken from the Gold¬ berg Variations.

Musically very demanding while being only moderately difficult technically, clarinetists should find this music re¬ warding as it provides an opportunity to enjoy some of the best music of the Baroque period.

LwiD^^N,

54 — The Clarinet

By Ewart Willey

Howard Quilling, Fantasy for clarinet in B-flat and piano. The composer, 3001 Harmony Drive, Bakersfield, CA 93306, U.S.A.

The composer, who was born in 1935, has had an exten¬ sive musical training; his composition teachers have included Ingolf Dahl, Peter Racine Fricker, Ellis Kohs, and Halsey Stevens.

The Fantasy is in three movements. The first is marked Moderato ( d = 80) and is almost entirely in 4/4 time. It is lyr¬ ical in nature but with a middle section with the instruction to the players "mechanistic" and which requires some dex¬ terity. The second movement is slower ( ^ = 72) and, apart from its middle section, has a 6/8 time signature. Its mood is one of wistfulness. The last movement is fast ( d = 100 +); its rhythm is 2/4 interspersed with 3/4. It is in the form of a rondo.

Each movement makes use of a tone row; there is exten¬ sive use of contrapuntal devices and much canonic ingenuity is displayed.

I found this to be a well written work of very considerable interest and merit. The three movements are balanced and make a convincing whole. The piece has not palled with in¬ creasing acquaintance, indeed very much the reverse. From

the players' point of view it has the additional virtue of being within the capability of a competent amateur duo. For the listener, it is not just another light suite, and, though in an atonal idiom, is not forbidding.

The music comes as a photocopy of a very clear manu¬ script. Unfortunately, there are two bad page turns in the clarinet part, also the bar numbering is in error between bars 90 and 110 and from bar 140 to the end, and there are two separate bars missing from the clarinet part (nos. 87 and 190). Lastly, "stopped" notes are called for in three bars of the piano part of the first movement which could not be phy¬ sically achieved by my pianist acquaintances. However, these "special effects" seem less than vital.

In summary, a good and interesting work in an atonal idi¬ om — I look forward with anticipation to further clarinet compositions by Mr. Quilling.

New publications for future review... Jorgen Bentzon, Sonatina, Op. 7, for flute, clarinet, and bas¬ soon. Skandinavisk Musikforlag, Copenhagen (U.S. Agent: Magnamusic-Baton, Inc., 10370 Page Industrial Boulevard, St. Louis, MO 63132.)

Franz Tischhauser, The Beggar's Concerto (1976) for clarinet and string orchestra (piano reduction). Edition Amadeus —

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Bamber mouthpieces for Bb clarinet and saxophones: $39.00 to $75.00.

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The Clarinet — 55

U.S.A., 305 Bloomfield Avenue, Nutley, NJ 07110.

Caspar Diethelm, Quartet, Op. 167 (1980), for clarinet, 2 vio¬ lins, and cello. Edition Amadeus.

Nicola Miaskowsky (tr. James Lester), Fugue in a Classic Style for clarinet and bass clarinet. JTL Publications, 345 S. Cit¬ rus Avenue, Los Angeles, CA 90036.

George Frederick McKay, Instrumental Duo Suite for B-flat clarinet and violin, viola, cello, etc. JTL Publications.

Duncombe, Lohlein, andj. S. Bach (tr. James Lester), 3 Ba¬ roque Pieces. JTL Publications.

Alexander Gretchinaninoff (tr. James Lester), Miniatures for 3 Clarinets. JTL Publications.

Dimitri Kabalevsky (tr. James Lester), Sketches for Three for B-flat clarinets, JTL Publications.

Purcell, Fischer, and Couperin (tr. James Lester), Court Dances for 2 B-flat clarinets and bass clarinet. JTL Publica¬ tions.

C.P.E.,J.C.F.,J.S., and W.F. Bach (tr. James Lester), J.S. Bach and Sons, for 2 B-flat clarinets and bass clarinet. JTL Publications.

George Frederick McKay, Five Pieces for clarinet quartet. JTL Publications.

Eric Simon (tr.) Great Clarinet Classics for clarinet and piano. G. Schirmer.

Franz Danzi (ed. J.P. Newhill), Sinfonia Concertante, Op. 41, for flute, clarinet, and orchestra (piano red.). Musica Rara — U.S.A., 305 Bloomfield Avenue, Nutley, NJ 07110.

Igor Stravinsky (arr. Ray Jackendoff), March, Waltz, and Polka for clarinet and piano. Chester Music (U.S. Agent: Magnamusic-Baton, Inc.)

Manuel de Falla (arr. Charles Schiff), Two Pieces from El Amor Brujo for clarinet and piano. Chester Music.

Harry Bulow, Contours for clarinet. Silver Mace Publica¬ tions, P.O. Box 534, Santa Barbara, CA 93102.

be playing with Lawrence Welk.

56 — The Clarinet

Serge Rachmaninoff (tr. Kocsis), Vocalise, Op. 34, No. 14, for clarinet and piano. Editio Musica, Budapest (U.S. Agent: Boosey and Hawkes).

James Hook (ed. Brymer), Concerto for clarinet and orchestra (piano red.). Joseph Weinberger. Ludwig Spohr, Fantasy and Variations for Clarinet and Band, arr. Ralph Hermann, ed. David Glazer. Southern Music Company, San Antonio, TX.

Franz Schubert (arr. Lancelot), L'Abeille, Op. 13, No. 9, for B-flat clarinet and piano. Editions Musicales Transatlan- tiques (U.S. Agent: Theodore Presser).

Francois Vercken, Manege for four clarinets. Editions Musi¬ cales Transatlantiques.

Raoul Barthalay, Cinq petits duos for B-flat clarinets. Editions Robert Martin (U.S. Agent: Theodore Presser).

Johannes Brahms (ed. Robert Cavally), Sonata No. 2, Op. 120, No. 2 for B-flat clarinet and piano. Southern Music Company.

Betty Bang Mather and David Lasocki, The Art of Preluding, 1700-1830, 1700-1830, for Flutists, Oboists, Clarinettists, and Other Performers. McGinnis and Marx Music Publications.

Robert Schumann (arr. Lethiec), Chant du soir for clarinet and piano. Editors Musicales Transatlantiques (Presser).

Florent Schmitt, Sextuor, Op. 128, for clarinets. Gerard Bill- audot (Presser).

Arcangelo Corelli (arr. Goldsmith), Gigue from Sonata No. 9 for solo flute or B-flat clarinet and variable woodwind quar¬ tet, with optional keyboard. Theodore Presser.

Index of Advertisers Bob Ackerman 48 Bamber 59 Boosey & Hawkes Buffet Crampon .... inside back cover C. G. Conn, Ltd 9 Crystal Records 17 David Glazer 34 Meyer Kupferman 57 La Voz 15 Leon Lester Editions 51 Ludco 55 Luyben 25, 58 National Clarinet Suppliers, Inc 38 North American Saxophone Alliance 52 Oberlin College Conservatory of Music 53 Olathe Band Instrument 49 PerfectaReed 41 Kyle M. Peterson 34 Leblanc inside front cover Rayburn Musical Instrument Co 21 Russianoff Wind Instruments 21 Selmer back cover SHALL-u-mo 19 Sounds of Woodwinds 40 Theodore Presser Company 39 Tom's Clarinet Service 10 University of Oklahoma Clarinet Symposium 29 Yamaha 7, 13

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inet winter, 1985 volume 12, no. 2 international clarinet

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