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
CELEBRATING THE COLLECTION OF SIR NICHOLAS SHACKLETON
Meeting organised by the Edinburgh University Collection of Historic Musical
Instruments
Reid Concert Hall, Edinburgh, 22-24 June 2007
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 Neapolitan "School" of Clarinet
Antonio Caroccia
Naples, Italy
This presentation will analyze the influences and innovations brought forth by
the "Neapolitan school" to the construction of the clarinet and its technique.
In particular innovations pioneered by Ferdinando Sebastiani, clarinetist for
the Reale Capella Palatina and professor of the Royal College of Music in
Naples, who with his treatise Method for Clarinet (1855) influenced the
virtuosic style associated with the instrument, whether orchestral or soloistic,
and created an actual and valuable "school" with outstanding students such as
Labanchi and Pontillo.
Stubbins SK System Clarinet
Nophachai Cholthitchanta
Fulbright College of Arts & Sciences, University of Arkansas, U.S.A.
The clarinette à anneaux mobiles, known as the "Boehm System" clarinet,
was invented as a collaboration between the clarinetist Hyacinthe Klosé and
maker Louis-Auguste Buffet, and was first introduced at the Paris Exhibition in
1839. Since then there have been several attempts to "perfect" the Klosé/Buffet
clarinet.
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.
Clarinets and Tárogatók used in the Viennese Court
Opera under the direction of Gustav Mahler
Beatrix Darmstaedter
Sammlung alter Musikinstrumente, Kunsthistorisches Museum, Vienna
The fundament of the announced contribution is the interpretation of archival
documents belonging to the inventory of the files named "Generalintendanz" and "Hofoper"
preserved by the Austrian State Archives (Österreichisches Staatsarchiv) and
evaluated for the first time. The material includes for instance correspondence
of Gustav Mahler, who became the artistic director of the Viennese Court Opera
in 1897, of renowned instrument makers, like Wilhelm Heckel, Georg Berthold,
József Schunda and of the musicians Felix Weingartner, Heinrich Hiekisch, Franz
Schalk etc. The archival documents provide information about technological
details, pricing, delivery conditions, instrument repairs and the musician's
individual preferences concerning the choice of instruments. Moreover the
authorities interacting within the administrative board of the Court Opera
deciding the acquisitions of musical instruments become clear. As far as the
tárogató is concerned it was Gustav Mahler himself who invited Mr. Hiekisch, a
musician working for the Opera in Budapest, to introduce a new designed tárogató
in Vienna. Although his appearance in Tristan and Isolde in 1902 was
quite a success, further engagements seemed to be impracticable mainly because
the instrument needed was a special construction with an additional lower key
which was neither delivered nor received in Vienna, furthermore the Viennese
clarinettists - as the documents tell us - never got used to the difficult
intonation of the tárogatók.
The Late Eighteenth-Century "Dramatic" Clarinet in
Italy: the San Carlo Opera Orchestra of Naples
Anthony DelDonna
Georgetown University, Washington DC
Recent research (most notably Albert Rice's The Clarinet in the Classical
Period) has identified and meticulously documented copious evidence of
interest and the subsequent development of the clarinet in the 18th century,
resulting in a more thorough understanding of the instrument. This research has
also stimulated renewed investigation into the history of the clarinet on the
Italian peninsula, where knowledge of its development remains incomplete,
especially its cultivation in contemporary opera orchestras. Among the most
significant Italian ensembles that featured clarinets was the orchestra of the
Teatro di San Carlo in Naples. Sources reveal the utilization of the instrument
as early as 1772 while archival documents verify the enlistment of two fulltime
clarinetists by 1775. Knowledge of this history promotes a more accurate context
for the renown of Naples in the 19th century as a locus for the promotion of the
instrument by composers such as Rossini, Bellini and Donizetti and the presence
of virtuosi such as Ferdinando Sebastiani.
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.
The Home Key of the Clarinet
John Dick
Rothesay, Isle of Bute, U.K.
"Home Key" refers to a concept well understood by baroque and early classical
wind players, makers, bandmasters and composers. Written sources advise on the
selection of a size of clarinet and the principles followed by composers can be
inferred from opera scores, Scottish Military band parts, and transcriptions.
Tonal quality has often been over-emphasised as the reason for the selection of
a particular size of instrument and digital facility or precision of tuning has
been wrongly assumed to be the aim of early additions to keywork. When the
reasons why instruments have a home key are understood, these factors are seen
to be secondary. The Home Key provides the explanation for many apparent
anomalies and raises the issue of whether it is unhelpful to think of the
instruments as having "good" and "bad" notes or "improvements" in design. These
changes are developments in response to changed operational requirements. Focus
on the home key can lead to challenging the current attribution of an
instrumental part. This is illustrated by two very well known pieces. One is,
and the other is not, currently considered clarinet repertoire.
The Early American Clarinet: Makers, Sellers, Players
Jane Ellsworth
Eastern Washington University, Spokane, Washington, U.S.A.
The clarinet's role and status in early American musical life has received
little scholarly attention until now. Yet clarinets were being made in America
by 1761 and imported by 1764. Military documents, newspaper advertisements,
tutors, and existing instruments provide ample evidence for the kinds of
clarinets that were in use. Makers such as Wolhaupter, Anthony, Callender,
Catlin, Whiteley, Meacham, Eisenbrandt, Gütter, Ashton, and many others were
active in all of the major cities, as were merchants who sold clarinets from
England and elsewhere. This paper examines the activities of these makers and
sellers, identifies several heretofore unknown makers, and considers some of the
ways in which the clarinet was used in America in the late eighteenth and early
nineteenth centuries.
The Sir Nicholas Shackleton Collection in the
Edinburgh Collection of Historic Musical Instruments: an Overview
Heike Fricke
Berlin
The late Sir Nicholas Shackleton collected about 800 clarinets in over more than
40 years and his bequest has come to the Edinburgh Collection of Historic
Musical Instruments. The talk of the curator will give an overview of the
clarinets chosen for the exhibition. Starting with early examples of eighteenth
century instruments, made, for example, by Rottenburgh, Brussels, Cahuzac,
London, and Buehner & Keller, Strasbourg, the author takes a closer look at
English clarinets of the early nineteenth century comparing them with
continental instruments of the same period. Lyon with the instrument makers
Bernard, Simiot, Piatet et Benoit, and Jeantet seems to have been a place of
outstanding instrument making as some examples will show. Other important
centres of clarinet making in the 19th century were Paris, Brussels, Munich,
Vienna, and Dresden. Regional differences and developments will be shown with
selected clarinets made by Baumann, Buffet jeune, Adolphe Sax, Jacques Albert,
Bachmann, Stiegler, Hess, Osterried & Gerlach, Griesbacher, Ziegler, Uhlmann,
and Grenser. Finally the instruments of Fritz Wurlitzer are objects of
examination as Nicholas Shackleton admired them much.
The Clarinet in works of Franz Xaver Süssmayr
(1766-1803): Anton Stadler and the Mozartian example
Martin Harlow
Royal Northern College of Music, Manchester, U.K.
The paper will examine the clarinet and basset horn parts of Süssmayr's extant
works.
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.
The Origins of French and German Clarinets
Eric Hoeprich
Totternhoe, Bedfordshire
Today, the schism between French and German clarinettists is profound, and
occasionally even engenders animosity. It certainly defines potential employment
in various countries; currently, no player of the French clarinet can sit in the
Berlin Philharmonic Orchestra, nor will any German clarinettist ever be welcome
in Paris, or for that matter, London or New York City.
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 in France in the 18th Century
Jean Jeltsch
Université de Lille 3 Charles-de-Gaulle, Lille, France
We often read that Paris was a very important centre in the developemnt of
larger clarinet family instruments, for example the appearance of the bass
clarinet (Gilles Lot) or the first use of low clarinets (Missa pro defunctis
of Gossec). But no example is known today of any bass or "alto" clarinet bearing
the stamp of a Parisian workshop and made in the 18th century. Only two basset
horns made in Paris are known today (Michel Amelingue and Dominique Porthaux),
and a third made in Strasbourg (Bühner & Keller).
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.
The Clarinet in the Edinburgh Enlightenment
David Johnson
Edinburgh
An investigation into the early years of the clarinet in Edinburgh
(c 1755-c 1805) - its composers, players amd repertoire. Works to be discussed
include the Earl of Kelly's Symphony in E flat (c 1766), John Mahon's
Clarinet Concerto in F (c 1774), and J.G.C. Schetky's 24 Scots Airs for
military band (c 1795).
Clarinets of the Clinton Family
James Joseph
Northumberland
This paper seeks to provide a re-appraisal of the work done by Arthur Clinton
and his two sons George and James in the field of clarinet design. Having lived
for 35 years in Newcastle upon Tyne which was the Clintons' native city, the
author had a unique opportunity to access local sources of information. Other
valuable sources include patents, instruments in major collections and practical
performance experience by the author on his own Clinton instruments.
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.
Musical History: Historical Music
Colin Lawson
Royal College of Music, London
"I am convinced that 'historical' performance today is not really historical;
that a thin veneer of historicism clothes a performance style that is completely
of our own time, and is in fact the most modern style around; and that the
historical hardware has won its wide acceptance and above all its commercial
viability precisely by virtue of its novelty, not its antiquity". Richard
Taruskin's once notorious yet now widely-accepted views can justifiably be
applied to those most tangible of artefacts - the instruments themselves. As
long ago as 1932 Arnold Dolmetsch's pupil Robert Donington remarked of his
teacher's reconstructions; "the old harpsichord has certain limitations [and
produces] a jangle, slight in the treble but audible in the bass. The new
instruments, which remedy these historical oversights, have proved both purer
and more sustained than any previous harpsichord". Two generations later Robert
Barclay drew attention to the finger-holes often placed on copies of the Baroque
trumpet, so that "the so-called out-of-tune harmonics of the natural series will
not be unpleasant to modern sensitivity. The result is a trumpet which resembles
its baroque counterpart only superficially." During the heady days of recording
activity in the early 1990s Clive Brown issued a timely warning that the
characteristics of some of the orchestral instruments employed in Beethoven
cycles by The Hanover Band, Christopher Hogwood and Roger Norrington would
certainly not have been familiar to musicians in Beethoven's Vienna and that the
public was in danger of being offered "attractively packaged but unripe fruit".
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!
The Reform Boehm system: Right Compromise Between
French and German Systems ?
Luigi Magistrelli
Italy
In spite of the good tone qualities, hand forged mechanism, flexibility and
evenness over all the registers, Reform Boehm system clarinets so far have not
received a wide acceptance in the clarinet world. Is this system considered,
perhaps, a sort of hybrid between the french and german Oehler system clarinets
without its own identity ? My personal opinion is just the opposite ! I would
consider this instrument to be an ideal compromise between the dark, compact and
warm sound of the german Oehler system and the more flexible, brighter and
technically easier to handle, French Boehm system. My aim is to show the Reform
Boehm and German system clarinets, to compare them and let their distinctive
(but also in a way similar) tonal characteristics be heard, trying also to find
some connections with the French system clarinets. Fritz Wurlitzer, father of
Herbert Wurlitzer, was the first maker (before World War II) to make good Reform
Boehm system clarinets, on the basis of the teaching of Schmidt and Kolbe. I
still consider them the best Reform Boehm clarinets ever made.
The Derivation of Contemporary Performing Techniques
Ian Mitchell
Trinity College of Music, London
Many of the extended techniques for woodwind that are found in modernist music
from the 1950s onwards, and that became easily recognisable and archetypal
contemporary music gestures for twenty years or so, are usually assumed to have
been developed as a consequence of, and alongside, the demands of avant-garde
music itself. These novel performing techniques created a whole new repertoire
of sounds and ways of playing wind instruments. One of the earliest and most
influential compositions was Berio's Sequenza 1 for solo flute, which, on the
final page, requires the performer to produce more than one pitch
simultaneously. However, some of these techniques that were thought to be
current inventions, such as multiphonics, glissandi, flutter tongue, microtones,
circular breathing, colour fingerings and more are actually far from new;
indeed, in some instances they derive from practices thousands of years old.
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.
Iwan Müller's Soprano Clarinet: Structural Evolution
towards Adolphe Sax's Bass Clarinet
Juncal Diago Ortega
University of Valladolid, Spain
José-Modesto Diago Ortega
Professional Conservatory of Music of Soria, Spain
Iwan Müller's developments demonstrate important elements and ideas influencing
most of the clarinets manufactured subsequently in Europe (and in the world).
Rarely is this heredity recognized in designs and patents. We can view Adolphe
Sax's 1838 bass clarinet as the evolution and improvement, in the low register
of the family, of the constructive system which was developed by the Russian
inventor.
The Clarinets in the Collection of the Royal College
of Music, London
Ingrid Pearson
Royal College of Music, London
Founded in 1882, the Royal College of Music enjoys a reputation as one of the
world's leading conservatoires. Due partly to the vision of its founders,
particularly Sir George Grove, the RCM holds research collections of
international significance.
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.
Geometry Versus Performance of a Clarinet Mouthpiece
William Peatman
Berlin
The playing characteristics of a clarinet such as tone, ease of blowing, tuning
in the various ranges, brightness, carrying power are dependent upon many
factors, not the least of which are the mouthpiece and the reeds used. Strangely
the mouthpiece is the one main part of a clarinet which is no longer permanently
associated with the instrument itself. Furthermore, it is well known, that
nominally identical mouthpieces perform with differing results!
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 Viennese Wind Instrument Maker, Theodor Lotz
(c 1747-1792)
Melanie Piddocke
The Hague, Netherlands and Santes, France
This paper commences with an examination of the current knowledge of Lotz's
biographical details. Particular emphasis is placed on his career as a
performer, maker and composer in an attempt to highlight possible influences
which may have had an impact on his later career. As Freemasonry was a
significant aspect of intellectual life in Vienna in the late eighteenth
century, involving several significant musical figures - including Lotz - his
involvement in the movement is therefore discussed in the context of the broader
social significance of Freemasonry.
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.
Clarinet Forked Eb/Bb; a New Approach
John Playfair
U.K.
L-hand forked Eb/Bb remains one of the few advantages of the simple system
clarinet over the normal Boehm. Several successful solutions will be reviewed,
including a novel one involving less alterations than most.
The "Melba Gift": the Role of Woodwind and Brass
Instruments in the History of the Stabilisation of Pitch Standards in Melbourne
in the early Twentieth Century
Simon Purtell
Norman Macgeorge Scholar, University of Melbourne, Australia
In December 1908, when a variety of pitches were used in Melbourne, the
celebrated Australian soprano, Dame Nellie Melba, purchased a set of "normal
pitch" (A4=435) woodwind and brass instruments from the London
instrument manufacturer, Rudall, Carte & Co. In March of the following year,
Melba presented these instruments to the Marshall-Hall Orchestra. This short
presentation describes the instruments (including the four clarinets) and
considers the important role played by the "Melba Gift" in the history of pitch
standards in Melbourne in the early twentieth century. It will draw upon my
ongoing research into the history of pitch standards in Melbourne and throughout
the State of Victoria, an area of study not yet considered in histories of music
in Australia.
A Prescription for the Clarinet's Sore Throat: Throat
B-flat Mechanisms as Illustrated by Clarinets from the Nicholas J. Shackleton
Collection
Deborah Check Reeves
National Music Museum, University of South Dakota, Vermillion
It has been described by Leon Leblanc as "inferior," producing "a tone less good
than the others around it." It has been depicted by Rosario Mazzeo as "the
problem note," and by William Stubbins as a "difficulty" and "has not been any
secret from makers or players at any time in the history of the evolution of the
clarinet." Most succinctly put by Geoffrey Rendall, "the real bug-bear is the
middle b-flat."
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.
Clarinets by Adolphe Sax
Thomas Reil
Uhingen, Germany
Most books on the clarinet have been paying tribute to Adolphe Sax's
achievements for this instrument. His 1840 and 1842 patents relating to the
soprano clarinet are often described in detail, nevertheless there has been no
illustration of these or other Ad. Sax clarinets in any of the well-known
publications yet, nor is there more information to be found in listings of
public collections. Even the most important Catalogue des Instruments Sax au
Musée Instrumental de Bruxelles by Malou Haine and Ignace de Keyser will
describe and show only clarinets by Charles-Joseph Sax. The here included list
of 400 Sax instruments gives report only about a 13-keyed clarinet shown in 1890
at the London Royal Military Exhibition.
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.
The Bass Clarinets of Adolphe Sax and their Historical
Importance
Albert Rice
Fiske Museum, Claremont Colleges, California
One of the most important advances in the evolution of the bass clarinet is
manifest in an instrument made by the brilliant player, maker, and inventor
Antoine Joseph (Adolphe) Sax (1814-1894). This paper presents a short review of
18th and early 19th century bass clarinet designs that precede Sax's 1838 bass
clarinet, briefly reviews Sax's career, discusses the design innovations
reflected in Sax's surviving bass clarinets, compares his bass clarinets to
those by his contemporary Parisian rivals Louis August Buffet and Widemann, and
shows the influence of his designs on instruments made by later makers.
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.
The New Clarinet in Japan
E. Michael Richards
University of Maryland, Baltimore County, Baltimore, Maryland, U.S.A.
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 ).
Clarinets by the Denner family of Nürnberg
David Ross
University of Texas - El Paso, U.S.A.
This will be an illustrated presentation on instruments which are certainly
among the most important landmarks in clarinet history: those of the Denner
family. Based primarily on personal examinations of these instruments in their
museum homes, included will be numerous photographs, detailing these instruments
as well as noting differences between these and clarinets by other early makers.
Special attention will be drawn to mouthpiece design and evolution. Tuning and
playing experiences on these instruments will be noted, along with biographical
information and reports of additional Denner clarinets.
The Gaida Bagpipe in the Evros region of Greek
Thrace
Haris Sarris
University of Athens
My paper presents the main points of my doctoral research, which is an
organological ethnography that focuses on the construction, the playing
technique, and the repertoire of the gaida bagpipe in the Evros region of
Greek Thrace. Part of the old agricultural world, the gaida died out in
the course of the post-Second-World-War rapid urbanization. This urbanization
process eventually resulted in the reduction of the number of musicians, the
discontinuing of the instrument-making tradition, and the displacement of the
gaida by the clarinet. At the time when I started my research, in the late
1990s, the gaida was being reappreciated thanks to the activity of local
folklore cultural clubs. Unfortunately, this did not lead to a passing on of the
playing tradition to the younger generation.
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.
Brazilian clarinet music by the composer Francisco
Mignone and his "Concertino for clarinet and orchestra"
Fernando Silveira
Rio de Janeiro State Federal University, Brazil
This study aims to research, as a main objective, the freedom of interpretation
taken by contemporary performers of the "Concertino para clarineta e orquestra"
(Concertino for clarinet and orchestra), by the Brazilian composer Francisco
Mignone, through the historical context and thoughts of the composer, from the
genesis of the musical work itself and from the contemporary philosophy of
interpretation. To determine the above objective the recorded performances of
four outstanding Brazilian clarinetists were analyzed.
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.
Heinrich Grenser's Keywork Concepts
Eleanor Smith
University of Edinburgh
The Shackleton collection contains three clarinets by the German maker Heinrich
Grenser (1764-1813), noted for his innovative clarinet keywork. This paper
discusses the Grenser instruments in Shackleton's Collection: how they fit
within his oeuvre, and how they reflect on Grenser's statement in the Allgemeine
musikalische Zeitung of 1811 highlighting the importance of the basic five-key
instrument.
Clarinet Resources in the Boosey & Hawkes Collection
and Archive
E. Bradley Strauchen
Horniman Musuem, London
In 2004, the Horniman Museum became the new home of the instrument collection
formerly housed in the museum at the Boosey & Hawkes factory in Edgware and also
of the firm's instrument production and design archives. These collections
represent an important resource to researchers of British clarinet design and
performance practice. Clarinet making was the leading activity of woodwind
production at Boosey. This is reflected by the unusual and innovative clarinets
collected for the factory's museum, which was curated by Eric McGavin, an active
clarinettist, from 1950 to 1970. Instruments in the collection include prototype
clarinets designed for Boosey by George Clinton and Manuel Gomez. Some 330
technical drawings dating from the late 19th century to the 1970s detail aspects
of clarinet design from tone hole placement and bore profile to mouthpiece and
key design. Extensive manufacturing records allow clarinet production at Boosey
to be traced from the late 19th century into the 1970s. This presentation will
provide an introduction to resources available to researchers of clarinet design
and history in the Boosey & Hawkes Collection and Archive at the Horniman
Museum, London.
Louf system: Belgian and French patents in Comparison
with a Prototype in the Shackleton Collection
Denis Watel
France
In 2004, there appeared for the first time in an exhibition a clarinet after "Louf
system" in the Berlin Faszination Klarinette exhibition. Nothing is known
about this maker and inventor, except a short reference to his 1933 German
patent in W. Waterhouse: The New Langwill Index, 1993.
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.
Nick Shackleton: Collector Extraordinaire
William Waterhouse
London and Cheltenham
What differentiates the Musical Instrument collector from collectors of other
kinds of art-object? Noteworthy collectors of the past and present will be
identified, and their differing achievements and motivations discussed. Nick
Shackleton's status in this company will be examined, together with his
outstanding contribution as researcher and author to organology.
Boosey and Company: Trade in Clarinets in the Late
19th Century
Kelly White
Albuquerque, New Mexico
Extant Boosey & Company Stock Books, covering the periods 1868-1873, 1874-1875,
1882-1885, and 1896-1899, account for the sales of woodwind, brass wind and
percussion instruments. These records provide information about the sale of
individual instruments and to whom the instruments were sold, which helps to
paint a more complete picture of Boosey & Co not only as an instrument
manufacturer, but as a supplier and retailer of instruments.
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.
|
|
|
|
Claremont Festival Group
|
|
|
|
|
|
|
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
|
|
|
|
Symposium Introduction with Etheridge and Clark
|
|
|
|
School of Music Dean Welcome
|
|
|
|
|
Buffet Presentation to Dr Etheridge
|
|
|
|
Redwine Presents Clarinets to Competition winner
|
|
|
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.
|
|
|
|
Jessica Phillips performs Brahms Trio Op114
|
|
|
|
Phillips in Recital
|
|
|
|
Master Class
|
|
|
|
Phillips coaching
|
|
|
|
Master lesson
|
|
|
|
|
|
|
Ixi Chen in Recital
|
|
|
|
|
Ixe Chen with colleagues
|
|
|
|
Ixi Chen, Francois Kloc, Hakan Rosengren
|
|
|
|
|
|
|
|
Steve Cohen Master Class
|
|
|
|
Ben Redwine and Steve Cohen - Poulenc Sonata
|
|
|
|
Duet from far out in hall
|
|
|
|
Redwine and Cohen
|
|
|
|
Master Class
|
|
|
|
|
|
|
Mike Lomax in concert
|
|
|
|
John McClune in concert
|
|
|
|
Mouthpiece lecture
|
|
|
|
Mouthpiece Mapping
|
|
|
|
Description of Mouthpiece table on sheet
|
|
|
|
|
|
|
Ashley Ragle Stravinsky 3 Pieces
|
|
|
|
Ragle performing Weber Concerto #2
|
|
|
|
Clark Trio performance
|
|
|
|
|
Bartok Contrasts with Chad Burrow
|
|
|
|
|
|
|
Hakan Rosengren in recital
|
|
|
|
Solo performance
|
|
|
|
Master Class
|
|
|
|
|
Master Class
|
|
|
|
|
|
|
Suzanne Tirk in Recital
|
|
|
|
Ms Tirk Solo
|
|
|
|
Bradley Wong in Recital
|
|
|
|
Wong in recital
|
|
|
|
Dr Waldecker in concert
|
|
|
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.
|
|
|
|
Buffet Exhibit
|
|
|
|
Buffet Officers
|
|
|
|
Rico Reed Table
|
|
|
|
Lomax Mouthpiece makers
|
|
|
|
Tom Ridenour Clarinet Table
|
|
|
|
|
|
|
Campione Publication exhibit
|
|
|
|
Marcia Diehl and John McClune
|
|
|
|
Backun Exhibit
|
|
|
|
Forte Clarinet Table
|
|
|
|
Orsi-Wier Exhibit
|
|
|
|
|
|
|
Andino Clarinets
|
|
|
|
Gilliam Music display
|
|
|
|
Lomax Mouthpiece display
|
|
|
|
Selmer displays
|
|
|
|
Levi Tracy and Mike Lomax
|
|
|
|
|
|
|
Grabner and soloist Martinez at stand
|
|
|
|
Redwine Mouthpiece table
|
|
|
|
Tom Ridenour and Bradley Wong
|
|
|
|
Roadkill Clarinet Quintett
|
|
|
|
Roadkill bow
|
|
|
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.
|
|
|
|
Jon Beer in rehearsal
|
|
|
|
Beer as Klezmer soloist with Choir
|
|
|
|
Beer introducing piece
|
|
|
|
In concert
|
|
|
|
Performance
|
|
|
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.
|
|
|
|
Redwine jazz
|
|
|
|
Redwine Jazz performance
|
|
|
|
Martinez Solo
|
|
|
|
Martinez ensemble
|
|
|
|
|
|
|
|
|
Ken Peplowski with Soloist Martinez
|
|
|
|
Peplowski with OK Clarinet Choir
|
|
|
|
|
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.
|
|
|
|
Jonathan Cohler
|
|
|
|
Jessica Phillips
|
|
|
|
Valdemar Rodrguez
|
|
|
|
Robert Spring
|
|
|
|
Michael Norsworthy
|
|
|
31 May - 12 June 2007
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 |
Copyright © 1999 WKA-Clarinet.org. All rights reserved.
Revised: October 15, 2007
