Click on WKA Logo to return to Home Page
Hot News June 2007
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
24 June 2007
United States Military Academy Band 28th Alumni Reunion and Concert Weekend with Performance at Trophy Point Amphitheatre at West Point
West Point, New York USA
The 28th Annual reunion and concert weekend with veterans and retirees was held with a turnout of over 100 past members from as far back as the 1940's. Several social events were held which integrated the members in meeting others who maybe haven't been seen in decades while they served in this Band. A major rehearsal was held with a comprehensive program conducted by past commanders and the Band command officers. Two Previous Commanders Lietenant Colonel David Detrick, Retired, Colonel Thomas Rotundi (Present Leader and Commander of The US Army Band (Pershing's Own) in Washington, DC, USMA Band Commander Lietenant Colonel Timothy Holtan, Executive Officer Captain Treg Ancelet, Chief Warrant Officer Douglas Hammond, Alumni Saxophone Soloist Harvey Pittel, and Trumpet Jazz Soloist Ken McGee. Soloists included past Alumni including Harvey Pittel, renowned Saxophonist, Joseph Mariani, Clarinetist and Saxophonist, and others to be named. This Band has a rich history encompassing over 190 years, and is the oldest Military Band in the United States as documented in its history. This Band is one of the finest concert bands in the country, part of the US Army Premiere Band system along with The US Army Band (Pershing's Own) in Washington, and the US Army Field Band. One important reason for covering these events as this is a Clarinet site, is the emphasis on making known the high level performance prestige and how opportunities for Clarinetists can be made known. The Aumni Association, Sergeant Major Robrt Moon, Retired, President, has organized the past reunions and is involved in an archive research endeavor to bring back as much valuable archives to highlight the history, and encourage past members to come forward and reconnect with past colleagues. Some of the finest musicians in the US were members during the 40's - present.
24 June 2007
Clarinet and Woodwind Colloquium 2007 - Edinburgh University, United Kingdom |
Edinburgh, United Kingdom
During this week a great symposium detailing the historical evolution of the clarinet from its earliest days to the present was presented by some of the most acclaimed in this field. Noteworthy was the showing of the Collection of Sir Nicholas Shakelton who recently passed away in May and whose Collection is part of the University Instrument Collection. Details of this event is posted below by each presented shown.
The majority of these attempts have concentrated on the upper joint; one attempt was to improve the "fuzziness" of the throat Bb. The defect of the throat Bb note has been a problem for the clarinet ever since the beginning of its development. It was known that the problem was due to the dual function for the speaker key to produce both the overblown twelfth and throat Bb. However, not until the beginning of the twentieth century did makers finally attempt to solve this problem by creating two separate tone-holes, one for for each purpose, and by designing two separate keys to cover them.
The Stubbins SK System was invented by William H. Stubbins, an acoustician and a former professor of clarinet at the University of Michigan, Ann Arbor. Stubbins ingeniously and successfully adapted ideas from earlier approaches to solving the throat Bb "fuzziness" problem for the Boehm System clarinet. He patented his "S-K Mechanism" invention in 1950.
My paper, addressing the approach in the Stubbins SK System, is especially significant for me on this occasion because only shortly before he passed away Nick Shackleton was in correspondence with me precisely about an SK System clarinet.
This paper examines the cultivation of the clarinet in Naples in the late 18th century, c 1770-1800. The characteristic usage of the instrument (typology, technique, and musical qualities) is established through examination of selected excerpts of works performed at the San Carlo Theater. I incorporate source materials which offer information about the compensation of musicians, identities thereof, and the specific introduction of the instrument and fulltime clarinetists to the ensemble. The intent of this investigation is to provide a more complete history of the clarinet in Italy during the late-18th century and to offer a context for its important status in Naples during the 19th century.
On many levels the relationship between Mozart and Süssmayr is of interest: Süssmayr was Mozart's pupil from around 1790; he enjoyed close relations with Mozart family; he probably supplied secco recitative for La Clemenza di Tito and completed the Requiem after Mozart's death. Through Mozart he forged a friendship with Stadler whose artistry made such a significant impact on that composer in his last years, resulting in, amongst other pieces, the Clarinet Quintet K.588 and the Clarinet Concerto K.621 written for Stadler's basset clarinet and the substantial obbligati for basset clarinet and basset horn in La Clemenza di Tito.
Süssmayr's move to Vienna in the later 1780s and his associations with Mozart excited his interest in the clarinet and basset horn. Mozart encouraged Süssmayr to write a work for Stadler in 1791. Evidence suggests that, at least by 1794, Süssmayr had completed a concerto for the clarinettist. From extant examples of Süssmayr's clarinet writing, drawn from archival sources particularly in Budapest and London, it would appear that it was Stadler, rather than other Viennese clarinettists, who inspired Süssmayr to write virtuosic parts in the Mozartian manner.
Already by 1800, specific, national characteristics in clarinet design had emerged, establishing nascent characteristics of French and German instruments. In fact, by the 1820s, clarinets in each country possessed qualities that were entirely unique, and playing styles adapted accordingly. In Paris, Frédéric Berr, for example, mentioned specific local makers in his Traité (1836), as did several others, such as Fröhlich in Würzburg, Backofen in Darmstadt and Fahrbach in Vienna.
The origins of this division and its influence on musical life is a fascinating subject with an unlimited number of international repercussions, a variety of which will be discussed.
The basset horn was not played in France as it was in neighbouring countries, particularly in South Germany and Austria, and this paper will examine the reasons for this. Detailed study of the construction of these three surviving curved french basset horns (all different from each other) will allow us to assess their musical function, and also reveals some relationships with other curved basset horns. The entire corpus of these sickle-shaped basset horns was thoroughly examined by Sir Nicholas Shackleton in 1987*: this study will complete the French part of this remarkable work, taking into account the discovery of the important Amelingue basset horn in 2002.
* Nicholas Shackleton, `The Earliest Basset Horns', Galpin Society Journal, 1987, pp.2-23.
Patents were from Arthur (the father) in 1884 and 1891, and James in 1891 and 1898. George offered no patent applications. However, as a pre-eminent clarinettist and professor in major London conservatoires he also acted as a clarinet consultant with Boosey and Co. In this role, helped by the eminent acoustician David Blaikley, he developed the models of clarinet which bear his name - the Clinton System and the Clinton-Boehm. The former of these models enjoyed considerable popularity into the mid-twentieth century. Examples of both of his instruments will be available for examination at the presentation of the paper.
James Clinton, also a fine player tended to concentrate more on instrument design, especially a Combination Clarinet with models in the Albert and Boehm Systems. For this he enlisted the services of J.B. Albert of Brussels and formed a company for its manufacture and distribution chaired by Sir Arthur Sullivan.
Personal circumstances are described where germane to the investigation and where they differ from the published literature. Finally the influences on design, mutual and otherwise, are explored.
During Nick Shackleton's lifetime the worlds of the collector and professional period instrumentalist sometimes diverged in quite radical fashion. Clarinets were among the instruments that began to be widely copied within a musical environment where few period conductors showed much organological interest, ever anxious to be acceptable to modern ears. The regularisation of historical pitches, (for instance to A=415 or A=430) has been ironic, given that Quantz in 1752 lamented the lack of a uniform standard, which he reckoned was detrimental to his work as a flautist and to music in general. For today's players it is perhaps unfortunate that organological evidence in the public domain has tended to focus upon such matters as key mechanisms, bores and visual impact, with insufficient attempt to communicate the subtle quality of different instrumental sounds. Of course, words struggle to communicate certain aspects of art, whether quality of timbre or those tiny differences in emphases and timing that distinguish a great performance from a merely good one. As Daniel Türk put it in 1789, "certain subtleties of expression cannot really be described; they must be heard". The fascination with different nationalities of instrument which was a central focus of Nick's life as a collector has been largely ignored in the studio, with composers as diverse as Cherubini, Rossini and Beethoven routinely recorded on the same set of "period" instruments. Unripe fruit indeed!
This practical paper will demonstrate some of the techniques for clarinet in their avant-garde guise and uncover their antecedents, which might range from the ancient Greek aulos to twentieth century Albanian folk music.
The Royal College of Music's Museum of Instruments, forming part of the Centre for Performance History, houses an internationally-renowned collection of over 800 instruments and accessories from c 1480 to the present (700 European, keyboard, stringed and wind; 100 Asian and African). This collection embraces some sixty instruments from the clarinet family, including specimens by Doleisch, Griesbacher and Scherer.
In using the RCM instruments as a case study, this paper examines the nature of such collections and the way in which objects interact within them.
Over the past 20 years the measuring instruments and methods presented here have been developed in an attempt to objectively evaluate a mouthpiece. With these instruments/methods the physical dimensions of a clarinet mouthpiece can be precisely determined: lay, rail widths, baffle, table, chamber, bore, window, angle of the lay and of the baffle with respect to the bore etc.
It is essential, however, that the parameters measured be compared objectively with the playing characteristics. This can be accomplished by comparing nominally identical mouthpieces and correlating their differences in performance with the differences in the physical parameters measured. The cooperation of experienced clarinettists is essential if the ultimate goal of these studies is to be achieved.
The main body of the paper concentrates on Lotz's activity as a maker, with particular reference to clarinets and basset horns. Lotz's instruments are placed in the context of contemporary wind instrument making through a brief discussion of the development of the clarinet and basset horn. The representation of Lotz's instruments by modern instrument makers is then discussed, using a comparative approach. Three modern copies of Lotz clarinets by different makers are contrasted with one another, and with the original instrument. The same methodology is then applied to two basset horns. Finally the legacy of Lotz is examined, with particular emphasis on the careers and instruments of his two pupils, Kaspar Tauber and Franz Scholl.
The compromise in placement of the clarinet tone hole to produce an acceptable throat B-flat and yet facilitate easy production of the twelfths has been the subject of debate and experimentation since the invention of the clarinet. In his book The Clarinet, Rendall elaborates the problems encountered with the dual functioning speaker hole: "The basic cause of the trouble is the speaker. The air-column cannot be divided into the segments necessary to give the twelfths without a speaker, and strictly every separate note requires a different position of the speaker for perfect results ... one speaker in one fixed position has to do the duty of several ... the problem is aggravated by the necessity of using the speaker as a note-hole for middle b-flat as well. For this purpose the hole, to give an adequate note, must be of a certain diameter, and this diameter does not happen to be the ideal for overblowing ... [The maker is] forced to compromise in making the speaker-hole of a size to serve its dual purpose as adequately as possible." Lee Gibson, in his book Clarinet Acoustics, outlines the acoustical problems: "Frequency ratios between the first two harmonic modes of a closed pipe are more or less radically altered by the inverted hemispheric arc of errors induced in the opening of a speaker vent for the production of harmonic modes, particularly when this vent also functions as a primary producer of the tones of the third-line B-flat." Gibson concludes that "these faults prompted a century of searches for methods of separating the speaker function from that for the B-flat and for methods of reducing frequency ratios mistuned by the dually functioning speaker-B-flat vent ..."
This paper will survey the various methods that makers have prescribed for curing the clarinet's "sore" throat B-flat. The clarinet collection of Nicholas J. Shackleton is a phenomenal source of examples that illustrate many of these methods. Instruments designed and/or made by Conn, Wurlitzer, Mazzeo, Romero, Kolbe, Leblanc, Boosey, Albert, and Heckel will be examined.
Nicholas Shackleton's dicovery of a Sax clarinet corresponding to the 1842 patent can therefore not be rated highly enough. Unfortunately he could no more present his paper on this subject at the Herne symposium in 2005. This was done then by Ingrid Pearson in Vermillion in 2006 and will appear in Galpin Society Journal this year.
This clarinet being obviously a very rare and outstanding example of the Sax manufacturing, the question remains what a clarinet of Adolphe Sax's every-day production has been looking like?
Fortunately I could acquire last year a nice and interesting 13-keyed clarinet marked "AD.SAX et Cie. / PARIS" which must date from Adolphe Sax's very early years at Paris, c 1842-1850. This find encouraged me to do more research in this field. The information I could gather so far will be presented both in words and pictures including some thoughts on the remarkable fact that there are so few woodwind instruments extant of such a large production as it came out of Adolphe Sax's factories.
In Brussels, Sax grew up learning instrument making from his father Charles Sax, a skilled and very successful woodwind and brass maker. By 1835, Charles was hailed as the foremost wind instrument maker in Europe, and in that same year his twenty one year old son exhibited in Brussels an improved clarinet with twenty four keys. From 1835 to 1842, Sax held the commanding position of "contremaîstre" in his father's factory which by that time employed about 250 workers.
Sax produced his first bass clarinet and received a Belgium patent for its design in 1838. Three surviving bass clarinets were made in Brussels and are presumed to have been made by Adolphe Sax or under his supervision. In late 1842, Sax established his instrument making factory in Paris. Only eight examples made in Paris are known today. Four of these are stamped and four others are attributed to Sax. They are made of boxwood, African black wood, or maple with brass ferrules and feature large plateau keys and open standing keys designed to cover large tone holes placed in their acoustically correct position. Sax's key mechanism actually consists of the usual thirteen or fourteen keys of the soprano clarinet, including a second Eb/Bb key to provide an option in fingering, and a second register key covering a small tone hole in a brass key seat placed high on the front side of the brass crook. The latter key was a genuine innovation and brilliant idea by Sax since with its use the response and equality of tones in the upper register were greatly improved. Most of the surviving bass clarinets are made with a straight body but three later instruments were made with an upturned bell and these were ultimately the most popular and successful models.
During the 1840s and 1850s, Sax's bass clarinets were used in orchestras and bands in Brussels and Paris. So the question arises, why are there so few extant Sax bass clarinets? Their scarcity is most likely due to their high price of 200 francs, documented in a price list of around 1845, higher than any other instrument offered by Sax except a bass saxophone, which is listed at 300 francs. In addition, the majority of Sax's instruments produced in Paris were brass instruments and saxophones. He appears not to have emphasized production of his woodwind instruments. Also, it must be noted that Sax was involved in at least three major court proceedings where he was sued by Parisian musical instrument makers whom he counter sued. This activity no doubt limited his time in producing and selling woodwinds.
In summary, Adolphe Sax produced superior playing bass clarinets which were copied by some makers but their greatest importance was in the use and modification of several of Sax's designs in the later bass clarinets by the important Parisian makers L.A. Buffet and Buffet-Crampon. By the 1870s, the modern bass clarinet had evolved and adopted worldwide.
A number of prominent, award-winning Japanese composers (Akira Nishimura, Hiroyuki Itoh, Hiroyuki Yamamoto) have recently completed new chamber music works for me that demonstrate startling new possibilities for the clarinet. Their musical language draws from traditional Japanese aesthetics and music (such as gagaku), combined with the latest research in extended clarinet techniques for the Boehm system clarinet that I have been working on for 25 years (this merging of Western and Japanese elements into a new music is just one example of a characteristic way of thinking within Japanese society that the Japanese call wa-kon-yo-sai - a Meiji era slogan that means Japanese spirit, or soul - foreign technology). This extended clarinet research, unlike previous studies which have generally consisted of mere catalogs of sound effects, is organized according to the peculiar acoustical principles of the clarinet. As a result, the music of the above composers can freely express micro-tonalities and timbral transformations such as microtonal sequences of multiphonics, fingered microtonal portamenti, vertical sonorities (multiphonics) where pitch components can be articulated in various ways, and numerous trills (multiphonic split trills and multiphonic timbre trills, split microtonal trills, and double trills affected [or not] by flutter tonguing and/or portamenti) that take on new coloristic qualities.
I will demonstrate these innovations through live performance and recorded excerpts from these works (Meditation on a Theme of Gagaku Kotoriso (1996) - Nishimura; Madoromi III (2003) - Nishimura; Aquatic Aura (1997) - Nishimura; Out of a Blaze of Light (2006) - Itoh; Edoma (2006) - Yamamoto ).
In this context, I describe the instrument making process of the gaida using technological methodology and ethnographic data. I examine the playing technique from a Westerner's point of view as well as from the natives' perspective. I also explore the way natives perceive and categorize their repertoire. Moreover, I analyze some sample pieces in terms of their structure. Finally, I propose a theory of 'musical-geographical streams' that surface in the repertoire of the gaida.
Through data analysis interpretative reflections were offered that justified and/or complement the information collected from the performances, trying to find reasons for those decisions taken by the interpreters and proposing, for future performances, interpretative ways.
As a secondary objective a critical edition of the score has been proposed.
This paper compares a prototype in the Sir Nicholas Shackleton collection and the Louf patent, a very complex system of covered tone-holes and touches for semi-tones played with second phalanx of the finger, like a racket. Some biographical information is given about Gustave Louf (1888-1957), the French maker and inventor.
This paper discusses the sale of clarinets by Boosey & Co based on the accounts kept in the Stock Books. Elements of this paper include defining what makes and models of clarinets were sold; a discussion of to whom clarinets were sold and possible connections between the clients needs and the model of clarinet purchased; and creating a general image of Boosey & Co's niche in the later part of the 19th Century.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
17 June 2007
Claremont Clarinet Festival
Pomona, California USA
The Claremont Clarinet Festival, in residence at Pomona College, Claremont, California, took place June 11-17, 2007. Participants from Spain, Oberlin College, Arizona, the San Francisco and Monterey Bay areas, and greater Los Angeles participated in five public concerts of solo and ensemble clarinet repertoire under the artistic direction of clarinet coach Margaret Thornhill. The festival week included daily master classes with Margaret Thornhill, coach/accompanist Twyla Meyer, and guest clarinetist David Howard, bass clarinetist with the Los Angeles Philharmonic. Activities included a clarinet choir conducted by Lori Musicant Koch. Among comments from participants after the event:
“a transforming experience”; “a ten-fold increase in my enthusiasm for playing”; a “wonderful experience for me.”
Next year’s festival will take place June 9-15. For information, please visit the website:
http://www.margaretthornhill.com/SummerClarinetWorkshop.html
Programs from the
Claremont Clarinet Festival:
June 14 Faculty recital
Margaret Thornhill, clarinet and Twyla Meyer, piano--Herbert Howells
"Sonata"; David Howard, clarinet, Twyla Meyer, piano--Robert Muczynski
"Time Pieces"; Bohuslav Martinu "Sonatine"; Margaret Thornhill, John
Walz, cello, and Twyla Meyer piano--Brahms, "Trio" Op. 114.
June 15 Participant recital
Robert Goldstein--Schumann "Fantasy Pieces"; D'Arcy Weinberger--Milhaud
"Duo Concertante";
Wendy Mazon--Gabaye "Sonatine" on bass clarinet; Lucie Mc Gee--Hindemith
"Sonata";Lori Musicant Koch--Poulenc "Sonata"; David Beech--Berg "Four
Pieces"; Thomas Carroll--Honegger "Sonatine"; Vicente Ortiz--Brahms
"Sonata , Op. 120 #2"--mvt 1 and 2; Kovacs--"Homage a Manuel de Falla"
for solo clarinet
June 16 Festival Clarinet Ensemble directed by Lori
Musicant Koch
Bach/ Johnston--"Fugue in G major"; Eliott Carter "Canonic Suite";
Elgar "Nimrod"; Weill/Rae "Mack the Knife" from Threepenny Opera;
Dubois "Quatuor"; Ciesla "Klezmer Suite"
June 17 The Clarinet Marathon
Lucie Mc Gee--Poulenc "Sonata";Robert Goldstein--Osborne "Rhapsody" for
solo clarinet;David Beech--Finzi "Bagatelles"; Vicente Ortiz--Bernstein
"Sonata";Thomas Carroll--Mayer "Raga Music" for solo clarinet; D'Arcy
Weinberger--Schumann "Romances"; Nichole Pacquing--Lefebvre "Fantasie
Caprice"; Wendy Mazon--Spohr" Concerto #1" mvt 1; Lori Musicant
Koch--Horovitz "Sonatina"
June 17 (evening)
Guest performance by the Los Angeles Clarinet Choir
Music of Cansino, Dvorak, Grainger
|
|
|
|
|
|
|
|
|
|
16 June 2007
University of Oklahoma 32nd Clarinet Symposium
Norman, Oklahoma USA
The acclaimed Symposium held here under Clarinet Professor Dr David Etheridge took place with a stellar faculty of established Professionals and noted University Professors from all over the USA as posted on the Official Announcement posted in the galleries. Of interest at this festival is the exposure of relatively unknown high talent which is noted later here. As is known every year at this conference, the informality and easy demeanor at master classes, social situations, and performing, makes coming here an attractive event not to be missed. On any given time, a newcomer to this conference can be inspired by the performances and contacts and exposures made almost seeming to be catalysted. Below is described some of the major high points of this Festival, unfortunately 3 days long.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
The above photo galleries show the many great players who came and super-impressed the hundreds of students, teachers, advocates of the instrument who witnessed over 20 performances by such key players as Steve Cohen, Faculty at Northwestern University and former Solo Clarinetist in the Louisiana Philharmonic in New Orleans, Jessica Phillips, Eb/ 2nd Clarinetist in the Metropolitan Opera Orchestra in New York, Alcidas Rodriguez, Bass Clarinetist, Chester Rowell, Bass Clarinetist, Hakan Rosengren, Ixi Chen, 2nd Clarinetist in the Cincinatti Symphony, Ashley Ragle, 2nd Clarinetist in the Naples, Florida Symphony and winner of the Buffet-Crampon Clarinet Competition 2006, Chad Burrow, Solo Clarinetist in the Oklahoma City Philharmonic, Joze Kotar, International Soloist from Slovenia, and Jazz great Ken Peplowski. Many more performed recitals and concerts within the 3 days from am to pm.
Several Master Classes were held with arranged student appearances to packed halls covering fundamentals of technical skills and musical emphases as coached by Steve Cohen, Jessica Phillips, Hakan Rosengren, Ken Peplowski, showing how advanced many of the students were for their age. The annual Clarinet Competition was held with prizes given out, and one special prize was the loan of a set of Buffet Clarinets used by the late Ignatius Gennusa of the Baltimore Symphony, presented by Ben Redwine, a graduate of this University and a member of the US Naval Academy Band at Annapolis, Maryland.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Industry exhibitions were present to show the many instrument brands, new products, accessories, new music publications by publishers and retailers. If ever there is an opportunity to meet the makers and see and buy new products, this is the place to make moves to purchase and see new things.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Participation by enrollees were possible in playing in the Clarinet Choir, conducted by John de Beer, eminent Clarinetist from the Netherlands and Conductor of the Capriccio Clarinet Choir. He is considered one of the outstanding directors in the Choir movement. A seniors Clarinet Quintet names the Roadkill Clarinet Quintett, consisting of retired and senior players who have taught and played professionally performed an exceptional program. Annette Luyben introduced the ensemble.
|
|
|
|
|
|
|
|
|
|
The finale concert featured Ken Peplowski, one of the great Jazzers of our time. This was a successful program that has built itself from insignificent to the world class over the last 32 years single-handedly organized and pursued by Dr Etheridge, who waas presented a 'gift' of significence by Vice President Silva and Francois Kloc of Buffet-Crampon for his achievement. One has to have attended this conference for several years to really understand this accomplishment of well connected interactions with some of the great Clarinetists of the world. This Symposium is a mecca that all players should attend every year.
|
|
|
|
|
International Woodwind Festival - Boston Conservatory
Boston, Massachusetts USA
This intensive 2 week Festival including a world-class faculty of Clarinetists held at the Longo School of Music at Harvard University, was a success which should inspire growth opportunities for all serious professionally bound players and advanced students. Jonathan Cohler, an established soloist and recording artist is Artistic Director who gathered the above faculty and handled the logistics and concert programs. Detailed information including photo galleries are posted on the above website.
Day
|
Start
|
End
|
Room
|
What
|
Details |
---|---|---|---|---|---|
Fri Jun 1 | 20:00 | 22:00 | Seully | CONCERT | Clarinetist Jonathan
Cohler & The Claremont Trio in Recital Jonathan Cohler, Clarinet; Emily Bruskin, Violin; Julia Bruskin, Cello; Donna Kwong, Piano |
Sat Jun 2 | 20:00 | 21:00 | Seully | CONCERT | Clarinetist Jessica
Phillips in Recital Jessica Phillips, Clarinet; Yoko Kida, Piano |
Sat Jun 2 | 21:00 | 22:00 | Seully | CONCERT | Clarinetist Robert Spring
in Recital Robert Spring, Clarinet; Shizue Sano, Piano; Michael Norsworthy, Clarinet |
Sun Jun 3 | 15:00 | 16:00 | Seully | CONCERT | Clarinetist Michael
Norsworthy in Recital Michael Norsworthy, Clarinet; Stephen Olsen, Piano |
Sun Jun 3 | 16:00 | 17:00 | Seully | CONCERT | Clarinetist Valdemar
Rodriguez in Recital Valdemar Rodriguez, Clarinet; Yoko Kida, Piano; Ranieri Chacón, Clarinet |
Tue Jun 5 | 20:00 | 22:00 | Seully | CONCERT | Clarinet Contrasts: A Chamber Recital featuring IWWF Faculty Robert Spring, Clarinet; Valdemar Rodriguez, Clarinet; Jonathan Cohler, Clarinet; Emily Bruskin, Violin; Michael Norsworthy, Clarinet; Julia Bruskin, Cello; Shizue Sano, Piano; Eliko Akahori, Piano; Donna Kwong, Piano |
Wed Jun 6 | 20:00 | 22:00 | Seully | CONCERT | The Claremont Trio in
Recital Emily Bruskin, Violin; Julia Bruskin, Cello; Donna Kwong, Piano |
Thu Jun 7 | 20:00 | 21:00 | Seully | CONCERT | The Venezuelan Clarinet
Academy in Recital Shizue Sano, Piano; Aristides Rivas, Cello; Valdemar Rodriguez, Clarinet; Jesus Anton, Clarinet; Angel Subero, Cuatro; David Medina, Clarinet; Yoko Kida, Piano; Alex Alvear, electric bass; Ranieri Chacón, Clarinet; Benito Meza, Clarinet |
Thu Jun 7 | 21:00 | 22:00 | Seully | CONCERT | A Night at the Improv: Clarinetist Todd Brunel and Friends Gary Fieldman, Drumset; John Funkhouser, Double Bass; Andrew Hickman, Tenor Sax; Robert Rivera, Cello; George Brunner, Electronics; Ara Sarkissian, Piano; Dean Brunel, Piano; Arvin Zarookian, Double Bass; Ken Field, Alto Sax |
Sat Jun 9 | 13:30 | 15:00 | Seully | CONCERT | A Student Recital Emil Hudyyev, Clarinet; Michele Spinelli, Clarinet; Arthur Lukomyansky, Clarinet; Shizue Sano, Piano; Eliko Akahori, Piano; Alexander Brash, Clarinet; Kathleen LeBlanc-Hood, Clarinet; Yoko Kida, Piano |
Sat Jun 9 | 20:00 | 22:00 | Seully | CONCERT | The Closing Gala Robert Spring, Clarinet; Valdemar Rodriguez, Clarinet; Shizue Sano, Piano; Michael Norsworthy, Clarinet; Jonathan Cohler, Clarinet; Emily Bruskin, Violin; Eliko Akahori, Piano; Julia Bruskin, Cello; Donna Kwong, Piano; Yoko Kida, Piano; Jessica Phillips, Clarinet |