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February 2013
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25 February 2013
DEREK BERMEL'S "VOICES" RETURNS TO NEW YORK CITY, Performing Clarinet Concerto
with Mannes Orchestra at Alice Tully Hall at Lincoln Center
New York City USA
Composer-clarinetist Derek Bermel took the stage at Alice Tully Hall when the
Mannes Orchestra performs Voices, his highly-praised clarinet concerto. Unheard
in New York since its critically-acclaimed 1998 World Premiere, the work was
co-commissioned by the American Composers Orchestra and Boston Modern Orchestra
Project, premiered by ACO at Carnegie Hall, and recorded by BMOP on a
Grammy-nominated disc for Best Instrumental Soloist Performance (with
orchestra). Bermel's performance is in conjunction with his spring term at
Mannes, where he serves as composer-in-residence. His residency is unique, as he
occupies a central role at the school, working with the entire student
population to explore composition, improvisation, and composer collaborations,
along with the performance of new music, regardless of style or genre.
Voices
reflects Bermel's deep engagement with other musical cultures, which has become
part of the fabric and force of his compositional language and where the human
voice and its myriad inflections play a primary role. Voices explores the
clarinet and the orchestra through a multitude of techniques. The first
movement, "Id", evokes sounds of shouting, laughing, and mumbling; the second
movement, "She Moved Thru the Fair," is haunted by the sounds, inflections, and
gestures of Irish folk music; and the finale, "Jamm on Toast," features vocal
techniques more commonly associated with funk and big-band music.
In an
eclectic array of collaborations, residencies, and ground-breaking educational
roles, Bermel has worked, as clarinetist and composer, with jazz great Wynton
Marsalis, hip-hop legend Yasiin Bey (Mos Def), violinist Midori, installation
artist Shimon Attie, the National and Boston Symphonies, Los Angeles Chamber
Orchestra, Guarneri and JACK Quartets, Chamber Music Society of Lincoln Center,
Music from China and Music from Copland House, the Schoenberg Ensemble/Veenfabriek
(Netherlands), Jazz Xchange (UK), and Figura (Denmark). He has also scored
several films with composer/sound designer David Reid. His musical drama with
poet Wendy Walters, Golden Motors, will be previewed on March 9 and 10 at the
Institute for Advanced Study in Princeton, where he is in his fourth and final
year as artist-in-residence, and at Mannes later this spring. His newly-released
CD, Canzonas Americanas, on the Cantaloupe label with Alarm Will Sound, was
included on several "Best of the 2012" lists around the U.S.
23 February 2013
Gettysburg Clarinet Day, Staff
Sergeant Aaron Scott, Director (member of
The United
States Army Band (Pershing's Own) with Clarinet Quartets from The
US Air Force Band, The
United States
Army Band, and
The
United States Marine Band (President's Own) in Concerts, Master Classes,
Seminars on Military Band opportunities, Mock Military Band Auditions, Clarinet
Choir Reading session, Clarinet Exhibitions of Instruments and Accessories, a
session on proper steps in picking an Instrument, with VIP
Robert Dilutis and
Mark Sloss
Gettysburg, Pennsylvania USA
This unique and outstanding event involving Clarinet Quartet members of three of
the Premiere Washington Service bands, including The United States Air Force
Band, The United States Army Band (Pershing's Own), and The United States Marine
Band (The President's Own) performed a Clarinet Quartet Concert, followed by two
Master Classes for the enrolled participants, a Clarinet Choir Reading session
with all 30 participants, a Mock Audition later in the day behind the screen
with evaluation from the Military Band judges, a coaching of what is expected in
an audition to get the position, and also a presentation seminar about Military
Band opportunities, benefits, and question and answer issues. VIP
Robert DiLutis, newly appointed Clarinet Professor
at the University of Maryland at College Park, along with Mark Sloss, from
Professional Wind Instrument Consultants of New Jersey, gave a comprehensive
review of how to select a Clarinet and what has to be evaluated in picking a
clarinet, such as sound, intonation, response, and other factors.
Demonstration by DiLutis by playing scales and listening for these qualities
compared the instruments with feedback from those present, including tuning
barrel comparisons. Hopefully everyone picked up on what was happening.
It was advised that one should have a professional or teacher assist in
selection to be sure the right horn is picked. With all that has
happened that day, the benefits were well established.
The Finale concert was a composite recital with a Clarinet Ensemble from the
Gettysburg College plus the Band Quartet members performing Clarinet Choir
works. Level of playing was superlative. What is very
enlightening is the Director of this project, Staff Sergeant Aaron Scott of The
US Army Band, organized the logistics in collaboration with the other Bands in
Washington to make this event happen, requiring well honed organization skills
for preparation. Credit is due for this outstanding effort to make
for an outreach to benefit the participants, bring credit to the College and the
Military Bands in Washington.
21 February 2013
Louisiana Solo Clarinetist
Christopher Pell performs Copland Clarinet Concerto on a minute's notice
without prior rehearsal after a emergency sickness of engaged soloist
with the Louisiana Philharmonic - New Orleans (LPO) |
New Orleans, Louisiana USA
Carlos Miguel
Prieto acted quickly when his top-ranked, European
soloist fell violently ill as the Louisiana Philharmonic walked on stage this
past Thursday. And his quick decision brought glory to a young, musical star in
the making: 21-year-old LPO clarinetist Christopher Pell, who joined the
orchestra in September.
Pell, who is still a student at New
York's prestigious Julliard School, performed Aaron Copland's virtuosic,
three-part clarinet concerto on a few minutes' notice, and knocked it out of the
park. That's the piece commissioned by jazz star Benny Goodman. That's the one
where the soloist hits the highest and lowest notes one can make on the
instrument and swoops like a swallow the rest of the time.
"I've never seen something like this
happen at a professional orchestra," Prieto said. "It was a feat for Chris just
to play the Copland without preparation or rehearsal, but he did it with
conviction and poise and beauty."
After the show, which took place
at the First Baptist Church in Lakeview, Prieto bicycled home to Uptown through
a massive rainstorm.
"That was a very enjoyable ride. I
didn't think about getting soaked or the honking cars," Prieto said. "I was
thinking that Chris Pell reminded me why we become musicians. Anything can
happen on stage -- and that'??s always exciting."
Prieto responded
to Pell's performance by
posting a challenge
on the LPO website: "Witnessing incredible musicianship and dedication,
such as that displayed by Chris and our entire orchestra on a daily basis, makes
me excited to recommit myself to attracting and retaining the best musicians for
our community. With that, I pledge that I will personally match, dollar for
dollar, any renewed or additional donation that you make from today to March 31
in support of maintaining an internationally-acclaimed orchestra."
Prieto wasn't alone in his excitement.
Cellist Annie Cohen, who helped to found
the LPO two decades ago, called Pell's performance one of the most amazing
experiences of her career. Like most of the orchestra players, Cohen had no idea
that Pell would replace soloist Jose Franch-Ballester.
? "After the first piece, Carlos announced
that we would take an unscheduled intermission. When we were backstage, a doctor
from the audience was treating the soloist, and Carlos was talking to Chris.
That'??s how fast the change happened," Cohen said. "??Chris just stepped up and
did a marvelous job -- and he did it again the next night in Covington."
Cohen is a pretty good judge of these
things. Her husband, Steve Cohen, once served as the LPO clarinet principal and
now teaches at Northwestern University in Chicago.
Pell was more restrained than his LPO
colleagues when reached for comment. He explained that he had played the piece a
couple of times in high school, but would have preferred a few months to prepare
for his LPO solo debut.
"I was lucky to have a good reed that
night," Pell said.."I'm even luckier to be with this orchestra. I appreciate
their confidence in me, and I really appreciate the spontaneity that Carlos
showed."
16 February 2013
Lynn Musco, Clarinet Professor,
celebrates 25 years at Stetson University in Florida
February 06, 2013
The Stetson University Symphonic Band concert, scheduled
for 7:30 p.m. Friday night, Feb. 15, in Lee Chapel will start a weekend
of celebration for Music Professor Lynn Musco, Buffet Crampon Performing
Artist, who will be commemorating 25 years as professor of clarinet and
coordinator of woodwind studies at Stetson University, a position she
has held since 1988.
Friday night’s symphonic band concert, conducted by Douglas
Phillips,featured the clarinet section of the band on almost every
piece, Musco will perform the Frank Tichelli Concerto for clarinet and
wind ensemble, a three movement work written two years ago. Each
movement pays tribute to a particular composer: the first to George
Gershwin (complete with the Gershwin “gliss” associated with the
Rhapsody In Blue); the second to Aaron Copland; the third to Leonard
Bernstein.
There was an Alumni Recital on Saturday afternoon, Feb. 16, at 2:30 in
Lee Chapel. Musco’s graduates from 1999-2012 presenting works that they
have selected to perform for her. The public is invited free of charge.
Musco’s faculty recital is scheduled for 7:30 p.m., Saturday, Feb. 16,
in Lee Chapel. She will perform with Steinway Artist Michael Rickman,
who is celebrating his 30th year at Stetson.
The Saturday evening performance included Victor Babin Hillandale’s
Waltzes, the first piece Musco performed with the band at a national
convention, and Luciano Berio’s Lied, one of the pieces she
recorded during her fall 2012 sabbatical for her solo CD to be released
later this year.
The program also includes Camille Saint Saens’ Sonata, a standard
romantic repertoire for clarinet, and the world premiere performance of
“Mecurial Nymph,” written by Stetson alumnus Carlos Valez especially to
celebrate Musco’s 25th anniversary. Besides the clarinet,
this piece features two violins, performed by Routa Kroumovich and
student Austin Burket, viola with Jesus Alphonso, cello with David
Bjella, and Rickman, piano.
Musco has chosen to close the program with the first piece she performed
publicly at Stetson University – Verdi’s Rigoletto Fantasie,
arranged by Giamperi. She first performed this piece at the Friends of
Music recital in September 1988.
Musco received the Bachelor of Fine Arts degree in clarinet performance
in 1983 from the University of Wisconsin-Milwaukee, the Master of Music
degree in clarinet performance from New Mexico State University in 1986,
and the Doctor of Music degree in clarinet performance from Florida
State University in 1994.
Her academic duties at Stetson include teaching applied clarinet (the
studio has averaged 22 students per year over the past 20 years),
clarinet pedagogy, conducting the clarinet choir and coaching chamber
music. She also serves as director of the Stetson University Summer
Clarinet Clinic and is a member of the Florida Bandmaster’s Association,
Florida Music Educators National Conference, National Band Association,
International Clarinet Association, Pi Kappa Lambda and Phi Kappa Phi.
16 February 2013
The Michigan State University
College of Music is pleased to announce the appointment of Dr. Guy Yehuda as
associate professor of clarinet
East Lansing, Michigan USA
He will join the faculty on August 16, 2013,
to complement the woodwind area that prides itself on
excellence in creative activities, instruction, and
outreach. Dr. Yehuda brings robust teaching and performance
experience. As a nationally and internationally known
clarinetist, he has performed as a soloist in leading venues
and festivals, toured with top conductors, collaborated with
well-known composers and conducted popular master classes.
A
national search reviewing more than 50 candidates identified
Yehuda to be the clear choice for the college. “He presents
the most outstanding combination of performer and pedagogue
we have observed,” says Richard Sherman, professor of flute
and member of the search committee. “His playing has great
integrity in observance of composer's Intentions.” The
review committee found his teaching to be well versed in the
fundamentals of technique, but also having a high regard for
enabling students to be free and expressive. “He has a
focused and amenable disposition,” continues Sherman. “I
think he will hit the pavement running here at MSU.”
Yehuda earned an artist diploma and bachelor’s degree
from the Glenn Gould Professional Music School at the Royal
Conservatory of Music in Toronto. He received his doctorate
and master’s degrees, as well as a performer certificate,
from Indiana University Jacob School of Music. Yehuda will
leave the faculty at the University of North Florida where
he has served as associate professor of clarinet and chamber
music.
Yehuda was the winner of the 2003 Heida Hermanns
International Woodwind Competition, the 2004 Indianapolis
Matinee Musicale Competition, and the 2004 Fischoff Chamber
Music Competition (as member of Trio di Colore). As
principal clarinetist, he has performed with a number of
orchestras on tours of Europe and throughout the United
States. He performed and collaborated with composers and
performers such as Pierre Boulez, Steve Reich, George
Benjamin, Menahem Pressler from the Beaux-Arts Trio, and the
Cypress String Quartet. Yehuda is the artistic director of
the Florida Clarinet Extravaganza — an annual clarinet
festival — and over the summer months he is the
artist-teacher resident at the Orford Festival in Quebec,
Canada.
When it comes to teaching clarinet, Yehuda says he
believes it’s much more than instructing how to breathe and
how to play notes. “It’s a privilege to play such a
versatile instrument with such a vast register span that
elicits singer-like lyricism,” he remarks. “I find it
imperative that my students connect with the instrument on
this amazingly expressive level.”
He takes pride in helping his students depart from the “mere
notes” on the page to ultimately “sing” through their
clarinet. His teacher and great clarinetist Avrahm Galper
told him, “You have to learn to wear your heart on your
sleeve in every phrase and in every note you make.” Yehuda
has had the privilege to be mentored by such masters as
Galper, James Campbell, and Eli Eban.
“We are delighted that Dr. Yehuda will join our faculty,”
says James Forger, dean of the College of Music. “He brings
compelling artistry and a proven record as a committed and
highly effective teacher, poised to continue the tradition
of excellence that has been the hallmark of clarinet study
here at MSU.”
14 February 2013
VIP Steve Williamson
Appointed to be Principal Clarinetist in New York Philharmonic
New York City USA
The
New York Philharmonic’s solution is now the Chicago Symphony’s problem. The
Philharmonic addressed its four-season lack of a principal clarinetist by hiring
Stephen Williamson away from the Chicago Symphony, the orchestra disclosed on
Thursday. Mr. Williamson was one of the first appointments made under the watch
of Chicago’s music director, Riccardo Muti, and is in the middle of only his
second season there. Chicago will now have to find a replacement, although a
Chicago Orchestra spokeswoman said Mr. Williamson officially was on a one-year
leave.
With Stanley Drucker’s
retirement from the Philharmonic in 2009 after 60
years, the orchestra held auditions for a principal clarinetist but did not pick
a winner. It then thought it had scored a coup by luring a star in the clarinet
world, Ricardo Morales, from the Philadelphia Orchestra, but Mr. Morales later
backed out. The Philharmonic has been inviting prominent players in for a week
of performances on stage and in solo auditions. Mr. Williamson passed through in
the final week of November, for
a program consisting of the New York premiere of a
symphony by Steven Stucky, the Barber Violin Concerto and the Rachmaninoff
“Symphonic Dances.”
In the
end, Alan Gilbert, the music director, opted for Mr. Williamson with the
approval of an orchestral audition committee. Starting his job next season, he
will know the way to Avery Fisher Hall: from 2003 to 2011, he was a principal
clarinetist at the Metropolitan Opera. While his tenure was brief in Chicago,
Mr. Williamson made a mark. He was heard with the orchestra when it recorded the
score for the movie “Lincoln.”
10 February 2013
United States
Air Force Band Strings and Airmen of Note Guest Artist Series Concert at DAR
Constitution Hall with Senior VIP Paquito d'Rivera and Melina Leone in Washington, DC, conducted by Colonel Larry Lang, Commander and Conductor
Washington, DC USA
9 - 10 February 2013
Allentown (Pennsylvania) Symphony in Performance of Robert
Aldridge's Clarinet Concerto written for Soloist David Singer (Solo
Clarinet in Orpheus Chamber Orchestra) 9 - 10 February 2013 conducted by
Meastro Diane Wittry |
Allentown, Pennsylvania USA
As part of their concert series, this one themed 'Modern Romance' and including
a varied and powerful program and including star Clarinet Soloist from the
Orpheus Chamber Orchestra David Singer, performing Robert Aldridge's Clarinet
Concerto, written for him. Adrdige came up to speak about this work,
which has been recorded and available, explaining the movements in detail.
The below review summarizes the greatness of this concert set held over two
days.
By Steve Siegel Special to The Morning Call
Love
can both hit hard and seduce gently, as the
Allentown Symphony Orchestra proved on
Saturday evening and Sunday afternoon at Miller
Symphony Hall, in 'Modern Romance,' a
Valentine's Day program both persuasively
percussive and enticingly tender. Joining the
orchestra, conducted by
Diane Wittry, was clarinet soloist David
Singer and the Muhlenberg College Choir.
Three dances from Alberto Ginastera’s
“Estancia” was the attention-getting concert
opener, featuring a dramatic, deliciously
raucous riot of no less than eight
percussionists. Fast-paced and frantic, it was a
perfect introduction to the exuberance of Robert
Aldridge’s Clarinet Concerto, written for
Singer, the Orpheus Chamber Orchestra's
principal clarinetist.
Aldridge himself introduced the piece,
performed here in its Pennsylvania premiere, at
both the Saturday evening concert and the Sunday
afternoon concert I attended. He explained that
it represents something of a personality profile
of the clarinetist, who is a close friend.
Singer’s personality must indeed be
multi-faceted, for the engagingly lyrical work
deftly combined jazzy slides and slurs with
klezmer-like wails of joy in a decidedly
classical, three-movement format.
One could hear quotes of both Mahler and
Stravinsky behind Singer’s slinky and sinuous
riffs and rapid arpeggios, and wave-like
patterns of rising and falling in the strings.
Especially jazz-like was the third movement,
with the basses plucked be-bop style, over which
Singer played a seemingly free-form monologue.
Paul Dukas’ regal, brassy “Fanfare” from “La
Peri” highlighted the prowess of the ASO’s
brasses, and heralded in the program’s vocal
second half. The Muhlenberg College Choir,
directed by Michael Schnack, joined the
orchestra in Faure’s “Pavane,” Op. 50, and the
second suite from Ravel’s “Dapnis and Chloe.”
"Pavane" is not often performed with a
chorus, so it was a treat to hear it that way,
with the 45 voices of the chorus handling its
charmingly slight but musically apt text
beautifully. The choir’s carefully restrained
tonality and clear diction of the French text
delivered a haunting, romantic effect.
It occasionally happens that a great work
is better known by excerpts, and such has been
the fate of “Daphnis
et Chloe.” While occasionally performed as a
ballet, it is usually heard as it was here,
represented by its final three numbers: "Lever
du jour" (Daybreak), "Pantomime" and "Danse
generale." It is a difficult work, demanding
power, precision and a wide range of dynamics
from the orchestra, and requires the singers to
sing wordless choruses written in an
instrumental, rather than vocal, fashion.
The ASO and chorus performed the work
splendidly, with Wittry not only bringing out
the color and sound texture that so fascinated
Ravel, but more importantly, the work’s
hedonistic aspects.
The work’s opening is intensely pastoral.
One could hear the murmuring of a nearby brook
in the strings and twittering birdcalls in the
woodwinds. The sound of the orchestra was
marvelously luxuriant, with undulating figures
in the winds, harps, celesta, and later the
strings evoking the shades of dawn giving way to
the colors of day. The voices were lush and
ravishing, especially in the final section, when
Daphnis and Chloe throw themselves into each
other’s arms in impassioned, explosive climax.
|
7 February 2013
Martin Fröst,
Renowned World Soloist, to receive the Léonie Sonning Music Award 2014 in DR
Byen at a concert involving both the Concert Hall foyer and the concert hall
itself and will feature The Danish National Symphony Orchestra, the conductor
Thomas Søndergaard and The Danish String Quartet.
Byen, Denmark
Clarinettist Martin Fröst has been announced as the next recipient of the Léonie
Sonning Music Prize, one of the oldest and most prestigious music awards in the
world. Since 1959, the Danish Sonning Music Prize has been presented to the
leading musical personalities of their day, including Igor Stravinsky, Leonard
Bernstein, Dmitri Shostakovich, Mstislav Rostropovich, Miles Davis, Alfred
Brendel, Keith Jarrett and Isaac Stern. Martin Fröst is, besides Birgit Nilsson
(1966) and Eric Ericson (1991), the only Swede to receive this international
award. The most recent recipient of the Léonie Sonning Music Prize is Sir Simon
Rattle, who is the prize winner for 2013 and received his award in Copenhagen
last weekend.
For Martin Fröst to be admitted in this manner to the company of some of the
foremost figures in music during the past fifty years is a tremendous honour,
and also a recognition of his unique artistry and pioneering musical activities.
To receive this award is a tremendous honour, and I feel humbled and privileged
to be admitted into such an illustrious company of musicians. – Martin Fröst
The Léonie Sonning Music Prize consists of the sum of 80.000 Euro, and will be
presented at a gala concert in Copenhagen during the spring of 2014. In their
deliberations, the directors of the Léonie Sonning Music Foundation are charged
with the task of selecting a candidate who ranks among the best in his or her
field and is likely to remain so in the future.
Read more about The Sonning Music Prize sonningmusik.dk
Martin Fröst on eclassical www.eclassical.com
2 February 2013
1st Annual
Master Class in honor of Mitchell Lurie with VIP
Jessica Phillips-Rieske
at the
Manhattan School of Music - organized by VIP
Larry Guy,
eminent Solo Clarinetist in Several orchestras in New York and Professor at
Vassar College
New York City USA
Played principal clarinet under Fritz Reiner in Pittsburgh and Chicago Symphonies,
soloist with Los Angeles Symphony, and the premiere clarinetist
in the motion picture studios in Los Angeles for over 25 years. Many
outstanding recordings, well-beloved teacher at University of Southern
California, many outstanding students who are now playing and teaching
all over the country. Also produced Mitchell Lurie clarinet mouthpieces,
ligature, and reeds.
Certainly one of the very finest US players of the 20th century. Pablo Casals called him "the ideal clarinetist".
The first Memorial Clarinet Master Class in honor of legend American Clarinetist and teacher Mitchell Lurie, who has made a major impact on a whole generation of players, was held at the Manhattan School of Music under Larry Guy, a major New York Clarinet fixture and major teacher at Manhattan, and Vassaar College, and a renowned Orchestral Solo Clarinetist in New York. Giving the Class was VIP Jessica Phillips-Rieske, Acting Solo Clarinetist and Eb Clarinetist in the Metropolitan Opera Orchestra. The three hour class encompassed Solo playing, fundamentals, ensemble playing with several pre-college students enrolled in Manhattan's Pre-College Division. Further details upcoming about the entire sessions.
Copyright © 1999 WKA-Clarinet.org. All rights reserved.
Revised: February 26, 2013