Click over Logo to Home Page



In Memoriam 2017





23 September 2017



Petko Radev Petkov - Renowned Orchestral Soloist and Teacher in Bulgaria - In Memoriam - 23 September 2017


Sofia, Bulgaria


                  Clarinetist Petko Radev is one of the renowned Bulgarian folklore musicians. He was born on April 9, 1933 in the village of Svododa in the heart of Thrace.


                  The musician inherited his love towards music from his father. Petko Radev started performing folklore music and was influenced by the orchestras from Parvomay and Dalbok Izvor. His talent brought him to the School of Music in Sofia, where he started studying classical music. At first it seemed hard to him but success came soon. At a contest in Bucharest he won the first prize. As a student in the Academy of Music he took part in the third Bulgarian contest for instrumentalists and won the first prize, too. In 1957 he also won a prestigious award from a contest in Genève. In 1961 he started working as a clarinet player in the Sofia Philharmonic Orchestra.


                 In 1974 Petko Radev won a contest in La Scala in Milan and after that he spent 11 years playing the clarinet in one of the most renowned opera theatres in the world. During this period I had the pleasure of performing with some of the best conductors on the planet like Claudio Abado and Ricardo Muti. It was one of the best periods in my career.

                Before leaving for Milan, Petko Radev became a lecturer in the Music Academy. After he returned to Bulgaria in 1985 he continued lecturing. To my joy my students were all talented players. They were so good that they all went to work in the US, Austria, and the UK. My students also work in the Bulgarian opera, music theatre and philharmonic orchestra.


               Petko Radev is not only working in the sphere of classical music but continues loving Bulgarian folklore. He has also established a folk orchestra and is the author of a number of Bulgarian chain dance melodies.

Here is what Petko Radev told Radio Bulgaria:

            “When I was working in the orchestra of the radio I had the chance to make contacts with a number of renowned folk musicians. At that time I made my first records with accordion players Kosta Kolev, Ivan Kirev, Ivan Shibilev and Emil Kolev. My meeting with accordion player Petko Dachev encouraged me to create an orchestra of my own. We had a number of concerts with this orchestra and I recorded some of my best music with it. I have performed together with singers like Yanka Rupkina, Nedyalka Keranova, Yovcho Karaivanov and others. These recordings are kept in the audio fund of the BNR.”

            In the past years Petko Radev has been the chairman of the jury at a music contest in Parvomay. “It gives me a great pleasure to continue keeping in touch with my first love – folk music,” he says.

The importance of the clarinet in the development of Bulgarian folk music is significant. One of the most influential performers is Petko Radev.

            Since clarinet became part of Bulgarian folk music it has influenced greatly its development. Today’s players are true virtuoso performers and are good in improvisation. Many were affected by the example of Ivo Papazov. But there are other great players like Dimitar Paskov, Filip Simeonov, Orlin Pamukov.

           With the introduction of new technologies the opportunities for music inventions grow. For example, Ivo Papazov is often a guest to jazz festivals. But still folklore music is returning back to its roots, the musician says.


           Clarinet player Petko Radev continued to work actively in the sphere of music. He was a lecturer in the Music Academy in Sofia and Plovdiv and takes part in a number of international festivals.



A tribute from VIP Philippe Cuper



           When he was young he was a tv star of folklore music in Bulgaria where he was born . He worked a lot classical music with his teacher in Sofía Mr. Dimitrov . He got the first prize for clarinet et at the Geneva international competition and was the only non Italian to become principal clarinet of the La Scala of Milan orchestra . He return in Sofía Philharmonic orchestra and teacher at the Sofía High school of music where he had many student until now ( he was honorary professor )


           He won the Geneva competition in 1957 and I meet him many time in Bulgaria and we played concerts with his students like Vanguel Tangarov, Denitza Laffchieva.

          He was very proud of his young student Marian Bojidarov. For the 80th birthday of Petko Andrew Marriner and me were invited in Bulgaria by his students to make a surprise to Petko with a big concert also with Maria Prinz ( piano) the widow of Alfred Prinz.

         I met Petko Radev many years ago in Prag spring international competition in Prague spring international competition for clarinet when we were judges also with Gervase de Peyer. ( Paolo Beltramini got the 1st Prize).

         I liked Petko a lot , he had a great humility






4 September 2017






Loren Kitt, Renowned Solo Clarinetist in the Buffalo Philharmonic, Washington National Symphony Orchestra (NSO) and faculty at several Universities and Conservatories including University of Maryland, Catholic University, Peabody and Oberlin Conservatories - In Memoriam


                 The Vandoren family is deeply saddened to inform you that clarinetist and artist Loren Kitt has passed away. Thank you to the National Symphony Orchestra for the post dedicated to Loren. Let's play some beautiful music for Loren, his family, and his friends today. Read more about Loren's career:







28 July 2017




Hans Rudolf Stalder - Renowned Swiss Clarinetist, former Solo Klarinettist in the Tonhalle Orchester in Zurich, active in New Music with Pierre Boulez, and proponent of Early Historical Clarinets - In Memoriam


Zurich, Switzerland


                        Hans Rudolf STALDER was born in Zürich on July 9, 1930. He studied in Zürich Conservatory with Emil Fanghänel, then with Gustav Steinkamp and Louis Cahuzac (in Luchon in SouthWest France), First he was principal clarinet with the St Gallen Orchestra, 1953–1955, then with the Zürich Tonhalle Orchestra, 1955–1986. In Augsburg,1968 he gave the first performance of Mozart's Concerto in a reconstruction of its original vers...ion for basset clarinet. He was playing the chalumeau, period clarinets and basset horn, but also contemporary music. He gave the first performances of Karl Amadeus Hartmann's Chamber Concerto for clarinet and strings and Frank Martin's Ballade in the composer's arrangement for him for basset horn and orchestra.
His own groups, Stalder Quintet (1955–1990) and Zürich Clarinet Trio (founded in 1976) have had many works written for them. Stalder taught at the Zürich Conservatory from 1960 to 1970 and in 1975 was appointed to the Basle Musikakademie.






A tribute from Philippe Cuper:


                      Hans Rudolf Stalder was a student of Louis Cahuzac in France ,later principal clarinet at the Zürich Tonhalle orchestra and teacher at the Basel High school and member of the jury in all the most important clarinet competitions including the ARD Munich Competition. He was the first ( or one of the very first ) to record Mozart concerto on the original basset clarinet or to play with Pierre Boulez. I played for him Mozart with Matthias Müller last April at the special hospital house where he was near Zürich. He could play French and German clarinets old or modern system.



A tribute from former student Matthias Mueller:


                       In this moment I got the very said news that our beloved teacher and great person for history of the clarinet Hans Rudolf Stalder died.

                      He was not only a fantastic clarinet player - he was a wonderful person as well. His only interest was music and clarinet. He did so much in exploring old music for clarinet as well as pushing the avantgarde of our instrument. Some examples:
- he was among one of the first who started to play Molter Concertos.

- he recorded as first the Mozart Clarinet Concerto on a Bassettclarinet (the recording is available)

- he worked together with Pierre Boulez and started with others to play with contemporary techniques

- he was one of the first European who was active at ICE Fests 

- he was teacher of a whole generation of wonderful players and/or exchanged with them a life long  - among them Sabine Meyer, Paul Meyer, Hans Deinzer, Philippe Cuper, Charles    Neidich etc. etc.

- he plays a unique role for Swiss Clarinet Historie and was the founder of Swiss clarinet school





22 July 2017




Ernst Ottenamer, Renowned Solo Klarinettist in the Vienna Philharmoniker and founding member of the Clarinotts Klarinetten Trio with his sons Andreas and Daniel - In Memoriam


Vienna, Austria


               We have been informed of the sudden, unexpected death of Ernst Ottensamer, principal clarinet of the Vienna Philharmonic Orchestra and the Vienna State Opera. Ernst, who was 62, suffered a heart attack last night and could not be revived.


              His loss will be felt across the summits of the orchestra world, and far beyond.


              His eldest son Daniel Ottensamer is second principal clarinet with the Vienna Philharmonic.


              His second son, Andreas, is principal clarinet with the Berlin Philharmonic.


             Our sympathies to his grieving family, his colleagues and his students. Ernst Ottensamer was a named that commanded universal respect.


             Dominique Meyer, director of the Staatsoper, writes: Ernst Ottensamer was a wonderful clarinetist, one that informed ears could recognize without seeing him, as we would do with a human voice. I can’t believe I’m never going to hear his Clemenza di Tito or his breakfast scene in Der Rosenkavalier again. Ernst was also a lovely person. He often helped me when I needed it.


            UPDATE2: Statement from the Vienna Philharmonic Orchestra:


           The Vienna Philharmonic and the Vienna State Opera announce with deep sorrow the sudden death of long-time orchestra member Ernst Ottensamer, who has succumbed to a heart attack.

This loss leaves a deep personal and artistic void. Our thoughts are with the family at this difficult time. Ernst Ottensamer was born in Upper Austria in 1955 and studied clarinet at the University of Music and the Performing Arts in Vienna. In 1979 he joined the Vienna State Opera Orchestra and since 1983 he has made his artistic mark as principal clarinetist of the Vienna Philharmonic. He began his teaching career at the Vienna University of Music in 1986 and became a full professor in 2000.



           Ernst Ottensamer formed several chamber music ensembles, foremost the Wiener Virtuosen, the Wiener Bläserensemble, the Wiener Solisten Trio and, together with his sons Daniel and Andreas, The Clarinotts. He has performed as chamber musician and soloist with the most prominent ensembles, orchestras and conductors.




2 June 2017











30 May 2017





Georg Stump -  Clarinetist and Bass Clarinetist in the Düsseldorfer Symphoniker - In Memoriam


Düsseldorf, Germany


                       We mourn the passing of our colleague and friend georg stump: on Tuesday passed away yesterday the bass clarinetist of the düsseldorfer symphoniker georg stump in a tragic car accident in mönchengladbach. The musician was already 34 years as a member of the Düsseldorf Symphony Orchestra. The Orchestra would like him as a sign of sympathy for the next symphony concerts of the series sign on 9., 11. And 12. June in the hall.

                      The concern over the loss of our esteemed colleague's with the düsseldorfer symphoniker big: " we are all stunned that our friend and colleague George from one to the other moment torn from life. He was a great man and musician. He will be greatly missed. Our thoughts are with his wife and his family ", so the orchestervorstand.

                     Georg stump received his first klarinettenunterricht at the age of eleven years ago at the rheinische music school in his hometown of cologne. From 1976 to 1980 he studied at the Robert Schumann University in düsseldorf. Since 1983 he was a bass clarinetist of Düsseldorf Symphony Orchestra. Except for his work as an orchestral musician he dedicated himself to chamber music tasks, was an avid cyclist and a passionate painter.




31 May 2017



Jiří Bělohlávek, Chief Conductor and music director of the Czech Philharmonic Orchestra - In Memoriam


Prague, Czech Republic



             Bělohlávek guest-conducted many of the world’s leading orchestras, including the Berlin Philharmonic, the New York Philharmonic and Boston Symphony Orchestra, and worked at the world’s top opera houses, such as Covent Garden in London, the Bastille in Paris and New York’s Metropolitan Opera.


            In 2012, he rejoined the Czech Philharmonic as their chief conductor and in January had signed a new six-year contract with the Prague-based orchestra. “Jiří Bělohlávek’s restoration of his Czech Philharmonic to its former glory will be one of his finest achievements, and, if the whooping and cheering of this audience is matched elsewhere on this British tour, he will also have felt the warmth of the esteem in which he is still held in the UK,” wrote the Guardian of his appearance with the orchestra, as part of a seven-date tour, in April 2015.


           Paul Hughes, BBC Symphony Orchestra’s general manager, paid tribute to ‘an extraordinary man.’


          “Jiří Bělohlávek’s last concert with his beloved BBC Symphony Orchestra and Chorus was Dvorak’s mighty Requiem Mass and a more fitting tribute to the music making of this extraordinary man it would be hard to imagine. His relationship with the BBCSO spanned 20 years there are so many memories, but I would single out the pride with which he brought the orchestra to the Prague Spring Festival, and the award-winning performances and recordings of Czech operas and Martinu symphonies. There was always a sense of family with Jiří, we were his musical family and his family were our family.”

Alan Davey, Controller of BBC Radio 3, BBC Proms and BBC Orchestras added:


        “Bělohlávek was a much loved conductor and his BBCSO work will be remembered as a golden period, where he brought the orchestra to new discoveries, particularly of Czech music. He charmed audiences with the warm humanity he brought to the music he gave us. We have so much for which to thank Jiří, and our thoughts are with his family and friends at this sad time.”

         Roger Wright, Chief Executive Snape Maltings and the former head of the BBC proms and Radio 3, said: “It was an enormous pleasure to work with Jiří Bělohlávek. His personal warmth was always evident and it is that character and quality which so infused his music making. I remember him and his hugely successful tenure at the BBC with enormous affection ... he brought his deep musicianship, in particular a glowing string sound, to everything that he conducted. He will be hugely missed.”

Facebook Twitter Pinterest

27 April 2017




Eduard Bruenner - Renowned Soloist, Recording Artist, Solo Klarinettist with the Bavarian Radio Symphony Orchestra in Munich, Germany, and Professor at the Hochschule fur Musik in Saarbruecken - In Memoriam


Saarbruecken, Germany


              Swiss-German clarinetist Eduard Brunner has been notable for collaborations with top-quality chamber groups, for adventurous recordings, and perhaps especially for his commitment to contemporary music. Born in Basel, Switzerland, in 1939, he studied with pioneering French clarinetist Louis Cahuzac in Paris until Cahuzac's death. The fundamentals of his professional life are common enough in pattern: he spent many years as first clarinetist of the Bavarian Radio Symphony during the conductorship of Rafael Kubelik, later moving on to a professorship at the Hochschüle für Musik in the west German city of Saarbrücken. Along the way came rounds of the top European festivals and master classes at the likes of the Marlboro Music Festival in the U.S. state of Vermont. Brunner has commissioned many of the contemporary standards of clarinet music, including concertos by Edison Denisov, Jean Françaix, Ernest Bloch, and more recently Cristóbal Halffter, but he was also an enthusiastic exponent of clarinet standards by the likes of Spohr, Weber, and Stamitz. His recordings, more than 250 in number, have appeared on a variety of labels, with a concentration of them appearing on the avant-garde jazz/classical German label ECM. Perhaps most characteristic were Brunner's chamber music collaborations, in which he often joined with critically acclaimed artists of a somewhat intellectual cast: Alfred Brendel, the Végh Quartet, and Yuri Bashmet. In 2007 Brunner issued a disc of contemporary Swiss clarinet music on the small Musiques Suisses label; the disc included an interview with Brunner by Max Nyffeler. Remaining active as he approached his eighth decade, Brunner followed that up with one of several recordings he has made of wind chamber music by German composer Harald Genzmer.


A tribute from former student Sebastian Manz:


           He was like a mentor to me. For many years our paths have crossed again and again, most recently at the Hochschule für Musik Karlsruhe, but also before that, such as in Lübeck eligible during 2015 as the jury members. I'm going to him first and foremost as a gentle person forever in memories!




20 April 2017



Major German Klarinette Pedagogue Urs Brugger - In Memoriam


From VIP Matthias Mueller - sad news


Urs Brügger my first important clarinet teacher, passed away. To early and with full energy and love for life and music.
His joy, happiness and kindness will live on in our feelings, thoughts and acting. Here my obituary in German.


Continue Reading
From VIP Matthias Mueller - sad news

                  Urs Brügger my first important clarinet teacher, passed away. To early and with full energy and love for life and music. His joy, happiness and kindness will live on in our feelings, thoughts and acting.

Dear urs

                Your Clarinet is stopped. I would like to add, your laughter has left us.

                Almost 40 years ago we were clarinetist ish and friends As a young ambitious clarinetist I came at the age of twelve in the class with you at the music school of leimental. You were the right teacher at the right time. You taught me what music is and your way of the aura of atomized künstlertums. If you sometimes a little late to class came - so what! Finally the kind of teacher that it is not so fussy took with superficial discipline. It was for you to get the thing to the music. Although only 12, test you treat me like an adult students. You've always been inspired and full of enthusiasm for the music.

               We laughed at that time not often - I was probably a shy student. In the last few years, we have, but hearty laugh about that time. For example, that I sometimes went directly into the coffee, to get you.

               That was a prägendste event with music but not directly, but to do with life: you ludest us students once a pizza with you. At that time there was fortunately still no pizza courier! Even the stairs to your house was an event: some kicks and then which were the garden: a wilderness! Things that a more childish young people keep a low profile. This imperfekte fascina? Then the rich pizzas that we are in the oven (in my memory it was a real wood burning stove) deported! We ate as the wild and you made still more dick laden cake. It was a night of me, a new different life smell left - a life filled with adventures, mysteries and open expression of joy.

               It was an unforgettable unique night we hearty laughed.

              When I was 15, did you do something that few teachers
do. You said I was going to have to switch to a different teacher. I felt that you wanted the best for me. It wasn't a question of successes with me to celebrate, that was not an issue for you. You wanted me to Hans Rudolf Stalder lessons. It should take a few more years until I started studying with him. Now I understand very well why you wanted to. Stalder was next to you to my principal clarinetist European teachers.

             Between us, was a new phase now. We became good friends! You're one of my friends with whom I most and most laughed. We have the phone for hours. Between Shoptalk on clarinets and music we made jokes and did something with a few so went well, as with you:

             We were laughing at us!

              I admired the way you all over the world traveled around concert tours and you've been back. Tirelessly was your musical energy and your entrepreneurship. You gave it up at the end, a happier and positive person.

              Just as original as unique was your project, a pavilion at expo and to buy the gymnasium oberwil in an idyllic location. You created a place that you wouldn't be able to better represent. An Oasis for the music, a meeting place of music lovers - a place of exchange of art and conviviality. It was very important for the maintenance of the creature comforts with delicacies and wine. It was about clarinet and music, but you from above and beyond this: it was about whole life.

             The atmosphere was always cheerful. If you came along was always laughing.

             You have the concert series the title icarus. I've never asked you, why. It suits you. You have your life to its limits, are bold and unconventional approach others and got inspired. The many clarinets, surrounded, you were very important to you. It was you but more to it than that: they were just your wings to the bright side of life, what makes life worth living.

             Your laugh is not silent, it lives on in us.



12 March 2017



Laura Flax, Renowned Soloist and Solo Clarinetist in the New York City Opera Orchestra, and Faculty at the Juilliard School and Bard College - In Memoriam


New York City USA



                     Clarinetist Laura Flax has been praised by the New York Times as “one of those musicians for whom everything is not only possible, but easy.” She is recognized as one of New York’s most distinguished and versatile players. Ms. Flax is currently Principal clarinetist with the New York City Opera Orchestra, the American Symphony Orchestra and the Bard Festival Orchestra. Formerly, a member of the San Francisco and San Diego Symphonies, Ms. Flax was been a frequent guest with the Metropolitan Opera Orchestra, The New York Philharmonic, St. Luke’s, Orpheus, and American Composers Orchestras. Her solo appearances include performances with the Jerusalem Symphony, Bard Festival Orchestra, American Symphony Orchestra, and the Puerto Rico Symphony. A member of the Naumburg award winning Da Capo Chamber Players for twenty years, Ms Flax was involved in over 100 premieres including works by Joan Tower, Shulamit Ran, Philip Glass and Elliott Carter. She has given master classes and recitals throughout the country at institutions and chamber music societies including Eastman School of Music, Pittsburgh Chamber Music Society, University of Chicago, Weill Hall, and MIT. As a chamber artist, Ms. Flax has appeared regularly with Jaime Laredo and Friends series, Suzuki and Friends in Indianapolis, Da Camera of Houston, and with the Bard Music Festival. As an active proponent of new music Ms. Flax gave the NY Premiere of the Concerto for Clarinet, Violin, and Horn by Aarre Merikanto at the Bard Music Festival. She also gave the United States Premiere of Shulamit Ran’s Clarinet Concerto with the American Symphony and received this review “Ms. Flax’s performance was literally breathtaking. Her leaps from low to high, soft to loud, or from coy to terrified, were spellbinding, as was her virtuosity and musicianship.”.
Ms. Flax is on the faculty of the Bard College Conservatory and The Juilliard Pre-College. Her recording of Joan Tower’s
Wings is available on the CRI label and music of Shulamit Ran on Bridge records. Ms. Flax’s twin daughters Amalie and Fanny are music performance majors at the Bard College Conservatory.

                 Solo and Orchestral Reviews:


“ Another high point of the concert was Joan Tower’s Wings, a graphic clarinet solo, dazzlingly played by
Laura Flax …” Andrew Porter, The New Yorker Magazine.

               “Ms. Flax had ample opportunity to display her considerable prowess in modulating tonal color, spinning fluid lines, and regulating dynamics.“ Peter G. Davis, New York Times
“ Right from the first, at the opening performance of
La Clemenza di Tito, the musical caliber was high. The important solos on clarinet and basset horn were beautifully phrased by Laura Flax.” Paul Griffiths, New York Times

“…and Laura Flax, the principal clarinetist, played brilliantly in exposed solos” Steve Smith, New York Times
“If by the way you hadn’t yet noticed the superb playing of the orchestra’s new principal clarinetist, Laura Flax, just about anything she played in the Serenade would have made a believer out of you.” John Willett, San Diego Magazine

              “Laura Flax is one of the few classically trained clarinetists who can match the screechy brilliance of Benny Goodman’s original performance of Bartok’s
Victor Landau, Poughkeepsie Journal
“….and Laura Flax, with her warmth and long line, made the glorious clarinet rhapsody a song of her own.” Paul Griffiths, New York Times

             “A seventh important solo voice came from the orchestra: Laura Flax, who played the prominent clarinet and basset horn solos exquisitely.” Peter G. Davis, New York Magazine


A Tribute to Laura Flax from friend and colleague Alan R Kay


The world lost a beautiful soul this morning. Laura brought unwavering strength, love and humor to everything and everyone she touched. She was not only a tremendously gifted musician whose playing and teaching touched and inspired so many of us: she truly loved and cherished music and the people who make it. I was so fortunate to have been her colleague at Juilliard for many years and to have had the privilege of playing with her on many occasions. She was a fabulous mother to her two wonderful daughters and had such love and respect for them. I have always loved teaching Shulamit Ran's "Monologue: For an Actor" and Joan Tower's "Wings" because they bear Laura Flax's name as the dedicatee. Those pieces will take on an air of sadness now, but the gift of having known this remarkable woman will last forever.


22 February 2017



Jeffrey Lerner - Solo Clarinetist Emeritus in the Houston Symphony and Professor at the University of Houston - In Memoriam


Houston, Texas USA


                 Jeffrey Lerner enlisted in the US Army on his eighteenth birthday on January 15, 1946. He desired to serve  his country even though WWII had officially ended. The time in the service allowed him to further his musical training towards the goal of becoming a professional musician. He continued his studies with world-renowned Daniel Bonade, took an evening theory course at The Julliard School, and performed acoustic bass with the Jack Moore Trio. Jeffrey holds two degrees from The Julliard School and is well known as a clarinet and saxophone soloist and clinician. Jeffrey performed with the New York City Opera and the Goldman Band. He was the principal clarinetist with the Texas Opera Theater; the Houston Ballet Orchestra; the Houston Symphony Orchestra; and the Houston Grand Opera Orchestra for many years; a founding member of the Winds of Texas. He was a Professor of Music at the University of Houston Moores School of Music for over 50 years, Jeffrey was honored to be named Professor Emeritus of clarinet and saxophone upon his retirement. Jeffrey was beloved and widely recognized as a performer, teacher, mentor, and leader in the music world in Houston, throughout the United States, and abroad.




21 February 2017



Stanislaw Skrowaczewski, Renowned composer and Conductor - Minnesota Orchestra's conductor laureate - In Memoriam


              Minnesota Orchestra Conductor Laureate Stanislaw Skrowaczewski has died. He was 93.


               Skrowaczewski came to Minnesota decades ago to lead what was then the Minneapolis Symphony Orchestra, and he never left. He changed the face of classical music in Minnesota, and remained a towering presence in the classical music world until the end.


              He had fallen in love with music while very young, as a boy in Poland.


            "When I was 4 I started to play piano myself," he told MPR in 1997. "Haydn, Mozart, Beethoven. Sonatas, sonatinas, chamber music."


            The music touched him in a way probably few of us can understand. He told a story of something that happened to him in the street one day:


             "Being 7, I heard something on the street, in an open window, in the summer, from the radio, that completely impressed me so much that I became very sick, physically sick," he recalled. "For three days, with a high temperature. It was Bruckner's Seventh Adagio."

            That bolt from the blue began a lifelong love of the composer's work. Skrowaczewski also began composing his own music at that early age. He became well known as a performer, and eventually planned a career as a concert pianist.



            That dream ended during World War II, when a bomb sent a wall crashing down on one of his hands.


            He turned instead to conducting, which led him to the Warsaw National Orchestra, then to Cleveland, and finally to Minnesota.


            In 1960, he took over as music director of the Minneapolis Symphony, a job he held until 1979, when he became the Minnesota Orchestra's conductor laureate.


            He conducted the orchestra at least once a year from then on. He also led independent concerts by the orchestra's musicians during the lockout that ended three years ago, and conducted the first two concerts after the contract settlement.


          Skrowaczewski championed new music, and it was he who declared the acoustics of Northrop Auditorium, where the Minneapolis Symphony had played for decades, unacceptable. When asked how they could be improved, he had a one-word answer: "Dynamite."


          The years-long drive to build and open Orchestra Hall was one highlight of his tenure in Minnesota.



          In 1979, he told MPR that it was shock at first to play in the new hall because it sounded so much better.


          "The Northrop was only loud and soft," he said. "When it was too soft, no one could hear at all, and when it was loud, what you hear there was only brass and percussions, no strings. In this hall we can have a very fine texture and performances."


          Critics welcomed the improvement in the hall and the resulting improvement in the orchestra, too.


          The symphony also was renamed the Minnesota Orchestra while Skrowaczewski was at the helm, although he later said that was a board decision, and he was not consulted.



          Lea Foli, concertmaster in the late 1970s, said he believed Scrowaczewski knew 20 or 30 symphonies by heart.


          "I can't think of another practicing conductor that has a bigger repertoire or greater depth of understanding of what he is doing," Foli said.


          When he finally stepped down after 19 years as music director, Skrowaczewski was seen by some as the last of the breed of conductors who led their orchestras for decades. He became the Minnesota Orchestra's conductor laureate, and appeared with the orchestra at least once a year.


          After stepping down as music director in Minnesota, he followed a hectic international schedule, conducting all over the world. He was particularly popular in Japan, where fans celebrated his 90th birthday by inviting him to conduct a series of concerts.


         "Composing is the heart of who he is, but he spent a lot more time conducting," Skrowaczewski biographer Fred Harris said. "That insight into music by being both a conductor and a composer makes him special."



Three years ago, a German label released a 28-CD collection of Skrowaczewski recordings, including performances of Beethoven, Bruckner, Schumann, Bartok and Berlioz, as well as his own compositions. The set shows the remarkable scope of Skrowaczewski's work, said Harris, who spent more than a decade writing the conductor's biography, "Seeking the Infinite."


          In his later years, Skrowaczewski often looked frail as he walked on stage, but said when he stood on the podium he felt rejuvenated, lifted by the music he loved so much. In 2014, at age 90, he said people just kept asking him to come back.



         "And they realize that any moment I can just say, 'I have to stop, and this is it,'" he said. "And if it goes well, why not?"


          Skrowaczewski played his last concert with the Minnesota Orchestra in October. The program included his beloved Bruckner.




4 February 2017




Gervase de Peyer - World Renowned Clarinet Soloist and Former Solo Clarinetist in the London Symphony - In Memoriam


                      Gervase de Peyer is one of the great instrumentalists of the second half of the twentieth century. In 1956, maestro Josef Krips selected Gervase de Peyer as his principal clarinetist for the London Symphony Orchestra (LSO). De Peyer held this position for seventeen years, while continuing an active solo and chamber music career, during what was acknowledged to be one of the high points of the LSO's history.

A mark of his eminence is that de Peyer toured as the chosen soloist with both Paul Hindemith and Aaron Copland when those composers conducted their own clarinet concertos. The clarinetist also recorded the Première Rhapsodie for Orchestra avec Clarinet Principale en Sib in the series of Debussy orchestral works conducted by Pierre Boulez, with the Philharmonia Orchestra. Later, in the 1970s, Gervase de Peyer moved to live and work in the USA, first of all in New York.

In May, 2005, I discovered that Gervase de Peyer was once again based in London, though still making American appearances. Eventually, on a sunny spring day, I met the clarinetist at his comfortable apartment beside the River Thames, within sight of London's Tower Bridge, where much of the following interview took place.


                    Charming and personable, with impeccable manners and courtesy, Gervase received me in his living room. Several opened boxes of clarinet reeds lay on one of the tables, together with sheaves of music and a copy of Richard Morrison's book: Orchestra: The LSO - a Century of Triumph and Turbulence (1). De Peyer had just attended the LSO's one hundred year celebration in London.

During our conversation we were joined by Gervase's charming wife Katia, who provided generous hospitality and refreshment. Together we spent several hours chatting.  As a child, Gervase lived in London before the war, with his parents. "There was a co-educational school across Hampstead Heath called King Alfred's," he said. "In a way it was unusual because it was a private school, and a new form of open education. You know, everybody called everyone by their first names - teachers as well. I'd really hardly thought about playing the clarinet, because I was having private piano lessons. I loved music, but was not thinking of another instrument, until the school asked me to take up a wind instrument. Flute, oboe, clarinet or bassoon - I could choose the one I liked best.

              "So I thought about that for a bit, and decided it should be the clarinet. I started having lessons with a lady who was a disaster, but I found another teacher with whom I got on well. Years later, when I joined for a short period the Sadler's Wells Opera Orchestra, I again met with this charming and amusing man who sat beside me playing as second and bass clarinetist, Mr. Wilfred Hamilton. For many years he was a member of the Philharmonia Orchestra.


             "I had a lovely piano teacher named Mabel Floyd (2). She was a darling and seemed to take to me. So I got on quite well with the piano. By the time I took up the clarinet I had in fact played the piano at the Wigmore Hall. Mabel Floyd had a concert there every year, with her pupils.

            "I was also inspired by Ethel Bartlett, who was my mother's older sister, and was half of a team called Bartlett and Robertson (3). They were duo pianists, the first really famous duo piano soloists in the world to make a big career. I don't think it had ever been done.


           "Vronsky and Babin followed them along (4), but until 1954 Bartlett and Robertson were the reigning international duo piano team. I remember going to the Wigmore Hall not only to play my own little pieces but also when they gave a recital. They would give first performances of big pieces on two pianos. I was absolutely thrilled."

"They were great friends, and came down to visit us in the summer holidays. But I became fascinated by their playing. I loved it very much." Gervase points to a pencil drawing of Ethel Bartlett by Laura Knight (5), a famous painter of the time who was a friend of the family's.

           "The relationship that I had with Laura Knight was first of all through these duo pianists. Laura Knight heard me play in one of the concerts at the Wigmore Hall - so we became friendly. When I had remarried in the late 1960s I was looking for a house. I heard that Laura Knight had died. I knew her lovely house in St John's Wood and was very glad to be able to buy it.

            "The contact with the artistic side of London was really wonderful. Both my parents were singers, not particularly successful ones. My mother was very talented, but lost her voice due to bad training. She couldn't talk. As a part of my childhood I can remember her hardly talking. It was pretty grim. She finally got over that.

"At Bedales, after taking school certificate, I won a scholarship for both piano and clarinet to the Royal College of Music. I studied there for a year, having clarinet lessons with Frederick Thurston, piano lessons with Arthur Alexander. One of the deputies who came along to teach me harmony was Ralph Vaughan Williams. He was absolutely charming, an absolutely delightful person, so quiet and humble, and really openly generous-hearted. I brought along a harmony exercise. He was rather slow, and very quiet. He studied this carefully and played a little bit on the piano. Then he said: "I hope you will have the patience. I'm just going to write you something." So he then wrote out an exercise on the same melody. I thought it was absolutely beautiful. I wish I'd kept it, but it got lost."

           Another eminent composer who was part of that circle was Arnold Bax. "One couldn't help meeting Bax in one particular spot in London, which was The Glue Pot - the pub just round the corner from the BBC," says de Peyer. "I was extremely young at the time, and quite surprised to find Bax already pretty inebriated!"

De Peyer got into the Royal Marines Band Service (RMBS) at eighteen, without even requiring an audition. This was not so surprising, because they did have their own training scheme. Naturally, they trusted the Royal College of Music's recommendation.

           As a wartime measure the RMBS had evacuated to Scarborough in Yorkshire. There it occupied the two best hotels in town, overlooking the North Sea. "Our duties were not arduous," says de Peyer. "Some band rehearsals and concerts in the town, a three-week tour in the fall of 1944 from Hamburg and down the North Sea coast of Germany, which was by then occupied by the Allies. We were playing for the occupation soldiers and any Germans who cared to attend; a rather dejected and miserable group did so. Early in 1945, I learned I was to be sent to the Pacific. The purpose was to join a heavy cruiser needing extra musicians, and we would travel on a troopship. So I was going out to Japan, which is a journey I'll never forget," he says. "The Royal Marine Band Service was to take me half around the world, on an old boat that creaked its way down the Bay of Biscay into the Mediterranean.


           "It wasn't the first time I'd been so far. I had already spent several summers in France, on the southern end of the Bay of Biscay, south of Bordeaux, before the war. In fact, we'd almost got stuck in 1939. We'd gone down there by car, and got back just in time to listen to the broadcast declaration of war that weekend. It made a big impression on me; the thing that thrilled me about the place, as a kid, was that there was a professional tennis championship which I watched with much excitement. I kept up my interest in tennis, which I used to play rather well. At Bedales School, they said, 'If he doesn't want to be a musician he can be a tennis player.' "

I asked if Gervase considers there to be any connection between athleticism and playing a musical instrument. "I think there is," he says. "It's a case of physical and mental coordination. It helps if one is physically alert and the muscles are working well."

            But the Royal College of Music, and tennis at Bedales, was a long way from life on a heavy old troopship, packed with sailors and soldiers, all going to the Far East as reinforcements for some of the ships who had casualties during the fighting," he explains.

           "Our old ship broke down after coming into the Red Sea through Suez, and had to call in for repairs. After this delay, we arrived in the Indian Ocean and the whole ship's company was summoned to muster on deck. The commanding officer told us of the atomic bomb explosion in Japan. That was August 1945. I was absolutely amazed and horrified but I knew that we were not going to fight the Japanese much longer. By the time we got to Trincomalee, in southern Ceylon, about a week later, we disembarked the ship. I hadn't even unpacked when I was called to play in the officer's mess. The Japanese had capitulated.

"There I was with an upright piano, and three musicians who had no music, but we were asked to play anyway. I drank myself out of the Japanese war. I was absolutely plastered. I don't remember the end of the day. I think I was carried back to the barracks. I realized how bad you did feel if you did get properly drunk. I've never done it so much again, ever.

           "I stayed for six months in Colombo, as people who had been fighting in the Pacific had preferential passage back to Europe. I gave the first classical music broadcasts from Colombo while I was there."

Gervase de Peyer then came back to the Royal College of Music, to the same teachers as previously. They were the clarinetist Frederick Thurston, and the pianist Arthur Alexander. "Almost immediately I was offered work with Sir Thomas Beecham's Royal Philharmonic, whenever they needed an extra clarinet. The manager of the Orchestra was John Amis. The wind players included Gerald Jackson flute, Leon Goossens or Terence McDonald on oboe, Gwydion Brooke on bassoon, Dennis Brain or Alan Civil on horn, and they had recently appointed Jack Brymer as principal clarinet.

"At that time, William Glock had become music director of the BBC Third Programme and he also ran the Dartington Summer School Festival. This is where I met him, thanks to his assistant John Amis."

"This was all going on while I was at the RCM. After two-and-a half years there I decided to study in Paris with Louis Cahuzac.(6) This widened my horizons a bit.

"The pianist Cyril Preedy had been a fellow student at the RCM. I'd had an offer to go to one of the Oxford colleges to play. I'd heard him, thought he was extremely brilliant, and asked him whether he would be interested to play together. I was quite astonished when I first went to his place for a rehearsal. It was in Notting Hill Gate, and it was one of the conversions down a little alleyway, which had formerly been a garage road. Quite a lot of the garages had been adapted as houses as well. There, to my utter astonishment, one of the upper rooms in these tiny houses was almost totally occupied by a grand piano. Amazing! This was where Cyril used to practice, and where we started to rehearse for that concert in Oxford."

          My friend the violist Cecil Aronowitz, who was working in a group called the Wigmore Ensemble, asked me to deputize for [clarinetist] Sydney Fell, to do an audition for the Arts Council of Great Britain.

          The audition was successful and proved to be invaluable for me personally, since a month or two later I was phoned up and told that the Arts Council was forming a group called Music in Miniature, which was going to be a concert version of a broadcast which had been going on for years at the BBC. It was half an hour only. During that half hour there was non-stop music, all of it rather short things, not a whole work, but a movement, maybe, of a symphony. This program had been copied by the Arts Council as a Music in Miniature on tour. It consisted of a cellist, Vivian Joseph, a violinist Ivri Gitles, the pianist Margaret Chamberlain, clarinet - I'd been asked for - and a singer, who varied from tour to tour. This was exciting news for me, and I came back from Paris to do an audition with this group.




9 January 2017




George Silfies, Renowned Solo Clarinetist in the St Louis Symphony and many Orchestras including the Cleveland Orchestra under George Szell and the Metropolitan Opera and as a respected Pedagogue - In Memoriam


University City, Missouri           



George Silfies was born to make music.


             “He really was nuts about music,” said Sue Silfies, his wife of 64 years, “and he listened to it and played it as much as he could.”


              Mr. Silfies, principal clarinet of the St. Louis Symphony Orchestra from 1970 until he retired on his 76th birthday in 2004, began piano lessons at the age of 5 but was such a good sight-reader that he didn’t need lessons for long.


              At 12, he took up the clarinet, the instrument he was born to play, and never put it down.

Mr. Silfies died Jan. 9 (2017) of a heart attack at his home in University City. He was 88.


              Born in Allentown, Pa., Mr. Silfies was accepted at the notoriously choosy Curtis Institute of Music in Philadelphia and graduated three years later, at 20. He immediately got a job with the Baltimore Symphony Orchestra and met his wife, a piano student at the Peabody Conservatory.


             Mr. Silfies spent his military service during the Korean War in the U.S. Navy Concert Band, one of the world’s premiere wind ensembles. Soon after his discharge, Mr. Silfies was offered the assistant principal clarinet position in the Cleveland Orchestra, under famed music director George Szell.


            After seven years, Sue Silfies said, “he was tired of playing assistant, so we decided to go to New York and freelance.”


            Mr. Silfies had a steady gig at New York City Opera, but he often substituted at the Metropolitan Opera.

              Both of them worked at the Santa Fe Opera in the summer, as did the then-concertmaster of the SLSO. He told Mr. Silfies that the orchestra needed a principal clarinet and suggested that he audition. The orchestra paid for Mr. Silfies to come and audition, and hired him immediately.


             “George was an immense musician. He was a force,” said SLSO associate clarinet Diana Haskell, a friend and colleague. “His piano skills were amazing, his clarinet skills were astounding, his sight-reading was brilliant and he was a very good conductor. He was also hysterically funny.”


             Mr. Silfies was featured on many recordings, of both orchestral and chamber music.


             “His best recordings were made here,” mostly with Leonard Slatkin and the SLSO, Sue Silfies said. Those included works by Brahms, Mozart and Beethoven, among others, as well as a witty rendition of George Gershwin’s “Walking the Dog.”


             Mr. Silfies appeared as a soloist with the Philadelphia Orchestra and the Cleveland Orchestra, as well as with the SLSO, where he was featured in concertos by composers ranging from Mozart to Dominick Argento, whose “Capriccio: Rossini in Paris” for Clarinet and Orchestra was commissioned by the orchestra specifically for Mr. Silfies. As a pianist, he worked with artists including Pablo Casals, Robert Shaw, Alexander Schneider, Richard Lewis and Claudine Carlson.


            Mr. Silfies served on music faculties wherever he was, most recently for the former St. Louis Conservatory and School for the Arts (now the Webster University Music School), where he was the artistic director of the Artists Diploma Program. Many of his former students have been principal or assistant principals in orchestras around the country, including the New York Philharmonic, the Los Angeles Philharmonic, the Pittsburgh Symphony Orchestra and others.


            Said Haskell: “George always said, ‘It’s got to be fun. Playing the clarinet should be fun.’ I think he demonstrated that every day, no matter what instrument he was playing. In the end, that’s really what it’s all about — to share that joy and fun with our audience and with each other.”




4 January 2017




Georges Prêtre - Renowned French Conductor - In Memoriam


               The veteran conductor Georges Prêtre has died at his home in the South West of France; he was 92. He is perhaps best known as the conductor of two of Maria Callas’s late recordings, both made for EMI in 1964: her first of Bizet’s Carmen and the remake of Puccini’s Tosca. He also conducted her Paris gala in 1959.


               Born in Waziers in the north of France, Prêtre studied at the Paris Conservatoire, harmony with Maurice Duruflé and conducting with André Cluytens. He made his conducting debut at the Opéra de Marseille in 1946, and then at Lyons and Toulouse. His Paris debut followed with Richard Strauss’s Capriccio, a work that remained close to his heart (and which he would recorded many years later with Dame Felicity Lott as the Countess). 


              He was Music Director of the Opéra-Comique from 1955 to ‘59, and at the Opéra de Paris from 1970 to ‘71. During the 1960s he made his debuts at Covent Garden, the Met and La Scala, with whom he enjoyed a long relationship (in 1992 he conducted filmed versions of Cav & Pag with Domingo at the Milanese house).


              He was best known for his advocacy of French music. He conducted the world premiere of Francis Poulenc’s La voix humaine (1959) and the Sept répons de ténèbres (1963). Among his many recordings, made mainly for French EMI, were Bizet’s Les Pêcheurs de perles (with Cotrubas, Vanzo and Sarabia), Gounod’s Faust (with Domingo, Freni and Ghiaurov), Massenet’s Werther (with de los Angeles and Gedda), Poulenc’s Concerto for organ, timpani and strings (with Duruflé playing the organ), his ballet Les Biches, and the Gloria and Stabat mater. For RCA he recorded Verdi’s La traviata with Montserrat Caballé as Violetta and, also with Caballé, a now legendary live performance of Bellini’s Norma, caught live at Orange, as well as Lucia di Lammermoor with Anna Moffo in the title-role.


             He conducted the New Year’s Day Concert from Vienna twice – the only Frenchman to do so – in 2008 and 2010.





 Copyright © 1999 All rights reserved.
     Revised: September 23, 2017