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May 2010 Hot News
25 - 27 May 2010
2nd Annual Music and Medicine
Symposium and Stanley Drucker Residency at Wright State University, Dr Randall Paul, Director
Dayton, Ohio USA
A special 3 days including collaboration with the University Department of
Medicine covered separate but related areas common to both professions.
Sessions were held separately by both departments with some fused together with
panelists conferring together in a session about health and injury issues facing
performing musicians. Dr Stanley Drucker and his wife Naomi took a major
role in Master Classes and a major finale concert including recital and
performance of the Weber 2nd Clarinet Concerto for a full house at the Schuster
Concert Hall in the Creative Arts Center on campus. Director of this
Symposium was Clarinet Professor Dr Randall Paul and his wife Nora Paul, a
former student of Naomi Drucker from years past. This made this appearance
special for all involved. Programs of all the Classes and concerts
galleried throughout this summary.
Two days of all day Master Classes with Stanley Drucker covering an entire gamut
of recital literature, Orchestral studies, Chamber Music coaching including a
Clarinet Quartet and Schubert's Shephard on the Rock was extensive, critical but
positive. Students were well prepared and showing fine fundamental
training from their teacher Dr Paul. Open rehearsals for Stanley Drucker
gave an inkling of how the preparation works especially the Weber Concerto with
the University Chamber Orchestra.
On the 3rd day there were seminars about the Buffet-Crampon Clarinets, their
differences, an overall history of the firm, and display of several instruments
available to try and if interested buy. Dr Drucker covered a student
trying out several horns and carefully screening them for finding the best one
to satisfy the students. She picked an R13 and she bought it the same day.
That afternoon the Medical-Music Seminar was held where issues such as Stage
fright and nerves at performance were discussed and how to deal with it, some
players actually taking medicine such as Beta Blockers to tone down the nerves,
not really a recommended practice. Physical problems such as corper tunnel
issues talked on and the panel included Dr Daniel Paprowski, the Druckers, and
Dr Paul along with the Medical Professors, many of whom brought questions
related to the topics. Sessions were very useful for all who came.
All the programs including 2 major performances by the University Chamber
Orchestra made this a major event not to be missed. This was one of the
outstanding Clarinet Days of the season, and Dr Paul and all involved are to be
commended. Special recognition and appreciation for his generous financial
support for this Symposium goes to Val Hattemer, a successful businessman and
amateur clarinetist who has established scholarship funding at this University
and has donated to other important events including the Oklahoma Clarinet
Symposium. He is an avid admirer of Dr Drucker and his accomplishments.
23 May 2010
Anderson
Twins Sextet celebrate Artie Shaw's Centennial
New York City USA
20 - 23 May 2010
2010 International Woodwind Instruments
Competition in Warsaw, Poland May 20th - 23rd. Sponsored
by the Praska Muza Association, Stanisław Moniuszko School of Music and Fryderyk
Chopin School of Music
Warsaw, Poland
The 2010 International Woodwind Instruments Competition in Warsaw, Poland
occurred May 20th through the 23rd. It was sponsored by the Praska
Muza Association, Stanisław Moniuszko School of Music and Fryderyk Chopin School
of Music. The event offered young clarinetists the opportunity for growth in
their playing through preparation of multiple pieces. They were afforded the
experience of performing solos from memory with piano on stage for an audience;
and finalists performed with the Concerto Avenna Orchestra. Contestants could
also meet and hear professional clarinetists perform, visit vendor displays and
participate in a clarinet choir.
In its inaugural year, the
event involved 36 contestants who were divided into groups based on age: 11 and
under; 12-14; 15-17; and ages 18-21. While clarinet students world-wide could
participate, this year all were from Poland. The judges, however were from
around the world, including: Florent Héau (France), Ludmila Peterková (Czech
Republic), Timothy Phillips (U.S.A.) and Nicolas Fargeix (France). The judges
gave recitals in the evenings and these exposed the students to standards in the
clarinet repertoire. One concert featured music by composers from each judge’s
homeland; Fargeix played French repertoire; Peterková played Czech music;
Phillips played American selections.
Contestants prepared a piece
for each round of the competition and most performances were done from memory.
The first round involved a piece with piano accompaniment. Even this early in
the event one could recognize the talent and dedication that even the youngest
had put forth in preparation. On the third day of the event, those remaining in
the competition performed a solo with the Concerto Avenna Orchestra. Afterwards,
winners were determined and would be featured one more time in the final concert
on the following day.
The winners were as follows:
Group 1 (ages 11 and under)
1st prize
Jan Tomaszuk
2nd prize
Maurycy Hartman
3rd prize
Szymon Emil Parulski
“Great Potential Award”
Dariusz Patrykus
Group 2 (ages 12 to 14)
1st prize
Karolina Bober
Szymon Murawski
(two equal 1st prizes)
2nd prize
Damian Skibniewski
3rd prize
no prize awarded
Group 3 (ages 15 to 17)
1st prize
Andrzej Ciepliński
2nd prize
no prize awarded
3rd prize
Gustaw Bachorz
Bartłomiej
Dobrowolski (two equal 3rd prizes)
Group 4 (ages 18 to 21)
1st prize
no prize awarded
2nd prize
Julian Paprocki
3rd prize
Renata Raczyło (first third prize)
Jacek Dziołak
(second third prize)
The Special Prize and opportunity to perform as soloist
with the Luthuanian National Orchestra went to Andrzej Ciepliński.
20 May 2010
Jon Manasse
on tour Performing Premiere of Lowell Liebermann Clarinet Concerto
Chico, California and Roanoke,
Virginia USA
During this month, several performances of a recent Concerto was performed by
notable Soloist Jon Manasse, who is Solo Clarinetist in the New York City Ballet
Orchestra at Lincoln Center and the Mostly Mozart Orchestra. He also is
faculty at Juilliard and the Eastman School of Music. As the below reviews
indicate, Mr Manasse's Solo capabilities are remarkable and is becoming in great
demand as Soloist and teacher. Several recordings are being released that
showcase his work.
World-class debut
A West Coast premiere and visiting
soloist are highlights of symphony’s season
finale
By Christine G.K.
LaPado
christinel@newsreview.com
Clarinetist Jon Manasse
rehearses with North State
Symphony a few hours before
their Laxson concert.
PHOTO
BY MATT SIRACUSA
|
Review: North State Symphony’s The Bold and the
Beautiful. Saturday, May
15, at Laxson Auditorium.
|
“He’s the best,” offered Kyle
Wiley Pickett, conductor of the
North State Symphony, during a recent
phone interview. Pickett was speaking of
classical clarinetist Jon Manasse,
several days before Manasse was to make
a special appearance with the symphony
on May 15, in Chico State’s Laxson
Auditorium.
“I’ve never heard a clarinet player
who can do everything he can. I mean,
Richard Stoltzman, he’s the most
famous—but Jon’s the best.”
Pickett didn’t need to convince me. I
have known about Manasse, a
40-something, clarinet-playing
whiz-kid-turned-superstar, for at least
a decade. Manasse was the youngest
winner of the International Clarinet
Society Competition; is a graduate of
Juilliard, where he now teaches; and is
currently principal clarinetist for New
York City’s American Ballet Orchestra
and the Orchestra of St. Luke’s. So it
was a big thrill to find out he was
coming to Chico to be the featured
soloist for the West Coast premiere of
prominent contemporary composer Lowell
Liebermann’s new Clarinet Concerto.
For Pickett, it was a real coup.
Pickett, who also conducts the Juneau
(Alaska) Symphony, explained it this
way: “As it turns out, I share an agent
with Jon Manasse. And so does Lowell
Liebermann. … Our agent said, ‘I think
it would be really great if Lowell
Liebermann would write a concerto for
Jon Manasse.’”
Clarinet Concerto had its
world premiere by the Dayton (Ohio)
Philharmonic Orchestra in November 2009.
It was just a matter of time before
Pickett had the opportunity to conduct
the piece, first in Juneau in January,
and then this past Saturday night, as
part of the NSS’s last concert of the
season—a concert titled The Bold and
the Beautiful, featuring the
Liebermann piece-in-three-movements
book-ended by Haydn’s “Lo Speziale
Overture” and Dvorák’s Symphony No. 8.
The Haydn overture—a fairly short
work with an A-B-A form—opened with the
double-bass section’s commanding, bowed
runs complemented by the sweetness of
the violins. The slow,
stately-yet-gentle B-section,
underpinned with more arco bass, led to
the liveliness of the third section,
which showcased the quickness and
agility of the violinists.
After the Haydn, Manasse appeared on
stage—dressed handsomely in a black,
long-sleeved shirt and black
trousers—and situated himself front and
center.
After an introduction featuring bells
and high woodwinds (but no orchestral
clarinets), Manasse put his horn to his
mouth and began on a low note that
sounded the way warm butter and maple
syrup taste on homemade pancakes, and
played a run that went up high on the
instrument.
“Very pretty, relaxed,” I wrote in my
notes early in the first movement.
“Evokes a feeling of wonder, beauty, a
sunrise, morning.”
The concerto, as it turned out, was
the perfect showcase for Manasse’s
stunning talent on the clarinet.
(Liebermann and Manasse attended
Juilliard together—there’s a lot to be
said for having someone who knows you
write a concerto for you.)
Manasse had the opportunity,
throughout the course of performing the
highly accessible, yet refreshingly
new-sounding piece, to show his superior
skill at playing runs and arpeggios up
and down his instrument, as well as his
ability to coax amazing beauty from
slower passages. He can hop around the
instrument, tonguing and slurring notes
high-to-low and the reverse, with such
facility it’s almost unbelievable.
Manasse’s tone is exceedingly gorgeous
(I do not exaggerate), and his ability
to re-enter the piece after a break is
notable for the way it’s not
noticeable—until you realize he’s
playing again. A master of subtlety, you
could say.
And he’s so nice to watch—his body
language shows that he clearly is moved
by the music.
I don’t mean to give short shrift to
famous Czechoslovakian composer Antonin
Dvorak; he is, as my brother might say,
“no joke.” And the symphony’s
performance after the intermission of
his Symphony No. 8 was wonderful.
But Manasse-playing-Liebermann stole
the show, in my opinion. Like Pickett
had told me, “For the North State
Symphony to get to do the West Coast
premiere, it’s really cool. This should
really go to an L.A. or San Francisco
symphony. It’s that
caliber—world-class.”
|
|
|
Roanoke Symphony Orchestra
review: Clarinet piece was rare jewel
Monday's program was already strong, but a new concerto was
a show-stopper.
By Seth Williamson
Special to The Roanoke Times
There was plenty to like in Monday night's Roanoke
Symphony Orchestra concert at the Roanoke Performing Arts
Theatre.
But the Virginia premiere of Lowell Liebermann's
magnificent new clarinet concerto outshone everything else.
When it came to superlatives, soloist Jon Manasse's
splendid performance pretty much sucked all the oxygen out
of the room, leaving little to say about the Gershwin,
Dvorak and Mozart works, any of which on another night might
have been the centerpiece of a program.
Yes, Maestro David Stewart Wiley presided over finely
calibrated crescendi in the overture to Mozart's opera "The
Marriage of Figaro." The Dvorak Symphony No. 8 in G Major
was artfully shaped and soulfully played. And George
Gershwin's little "Lullaby for Strings" was as likeable as
ever.
But when the Concerto for Clarinet and Orchestra, Op.
110, by American composer Liebermann cruised to a breathless
finish and the standing ovation and shouts of bravo were
echoing through the hall, it seemed clear that we had heard
a piece that will remain in the repertoire for decades to
come.
But it will always take a player of Manasse's caliber
to do justice to Liebermann's work. The occasional gifted
amateur may strike out into the deep waters of the Mozart
clarinet concerto. But no amateur can handle the Liebermann
piece. This bravura work requires not merely a professional
player, but a virtuoso.
It is lyrically gorgeous, full of ravishing tunes from
the opening whole-tone scales to the perpetual motion
finale. The orchestra is called upon to provide a wash of
ethereal textures with high bells and delicate woodwind
effects.
It's difficult to pick out peak moments. But the
entire middle slow movement, with its sinuous, long-breathed
melodies that take unexpected chromatic turns, was
breathtaking. Manasse's technical mastery was obvious enough
in the rapid passage work. But the pianissimo passages in
the instrument's very highest tessitura, with intonation
that was dead-on perfect, were extraordinarily lovely.
Manasse deserved every bit of adulation he got at the end of
this piece.
As a final gift to the audience, the RSO performed the
Brahms Hungarian Dance No. 5 to yet more shouts of approval.
Cleveland Orchestra
Assistant Conductor Titus Minoz and Soloist Franklin Cohen
15 May 2010
|
World
Premiere of Chamber Orchestra version of Osvaldo Golijov 'The Dreams and
Prayers of Isaac the Blind' performed by
Franklin Cohen and the
Cleveland Orchestra at Severence Hall and conducted by Tito Munoz 13 and
15 May 2010 |
Cleveland, Ohio USA
As part of their
regular Orchestra subscription series, this program was innovative and connected
with two works focused on dreams and visions, the Berlioz Symphony Fantastique,
and the world premiere of Osvaldo Golijov's 'The Dreams and Prayers of Isaac the
Blind' Orchestral version of the Clarinet Quintet, performed by renowned Solo
Clarinetist Franklin Cohen. This work includes a history of Judeism within
the themes of the various movements. Program notes about this work are
above which fully describes everything. Within this piece, klezmer is
noted as well as the use of A, Bb, and Bass Clarinet, remarkably performed.
This work grows on one who hears it with all the impressions contained within.
Originally this piece was written for Clarinet(s) and Strings, and a recording
was available to those who wanted one. This new work will surely stick as a
favorite in the Clarinet repertoire.
7 May 2010
Stanley Hasty 90th Birthday Celebration held in his
honor by Former Students and the Eastman School of Music held 7 May 2010 in
Rochester, New York
Rochester, New York USA
http://www.esm.rochester.edu/iml/hasty_celebration.html
A stellar gathering of former students from the Eastman School of Music, from
all over the United States, came to honor the 90th Birthday of their principal
teacher and mentor D Stanley Hasty, a teaching legend at this great school and
one of the most important pedagogical influences of the last century, along with
Robert Marcellus of the Cleveland Orchestra, and Leon Russianoff in New York.
Credentials and success stories in securing major Orchestral positions all over
the United States and abroad and teaching positions at major Universities are
attributed to Mr Hasty's teaching concepts, his own experience as a major
Principal Clarinetist in several 1st line Orchestras here in the States, and his
position as Solo Clarinetist in the Rochester Philharmonic, where many Eastman
students gained valuable experience in working with him in that Orchestra.
There was a special Dinner in his honor with former students of note giving
testimonials about their experience with him from notables as Larry Combs from
the Chicago Symphony, Elsa Ludewig-Verdehr from Michigan State University and
Director of her Verdehr Trio, Michael Webster from Rice University, Kenneth
Grant, present Professor at Eastman, David Etheridge, Professor at Oklahoma
University, and several others. The event was organized by Ray Ricker,
Saxophone Professor and Director of Jazz Studies, Elsa Verdehr, and the Eastman
Alumni Office. An honor event like this surely was emotionally packed for
all, especially Mr Hasty who will forever be esteemed by not only those who came
here, but by their students who will be the 2nd and 3rd generation recipients of
his teaching legacy. What is so important here is the history
being made with living legends and being a part of it along with the reunion
element. This event surely will never be forgotten.
3 May 2010
Stanley Drucker, New
York Philharmonic Solo Clarinetist Emeritus, Conferred with Honorary Doctorate
in Music from the University of Florida in Gainesville presented at two
Commencements, one from the School for the Arts, and at the University Graduate
School Commencement on 1 May 2010
Gainesville, Florida USA
An
historic, emotional, and proud moment in Music History, especially the Clarinet
world took place on this great campus of the University of Florida with the
Conferring of an Honorary Doctorate to probably the most renowned Clarinetist of
the last century Stanley Drucker, who retired with incredible honors last
October from his position as Solo Clarinetist in the New York Philharmonic after
61 years, 49 of them as Solo Clarinetist. The VIP Page about Dr Drucker is well
documented with his accomplishments. The process leading to this Honorary
is based on exhaustive review by the University Board of Governors and the Board
of Trustees, and sent to the University President for final approval for
Conferring. What is remarkable here is the overwhelming credential Mr
Drucker has brought to the Clarinet field, as performer, teacher, author,
recording artist, and the worldwide influence of his unlimited talent and its
impact on all players, teachers, and students worldwide. No one in
music history has accomplished such a level of consistent quality in the
Clarinet performance area, and even more noteworthy is that Mr Drucker has
raised the bar of performance over 3 decades with performances and recordings of
major Clarinet works such as the Bartok Contrasts, Debussy Rhapsody, Nielsen
Clarinet Concerto (in one recording take), Corigliano Clarinet Concerto (written
for him, Bernstein, and the New York Philharmonic), the last 3 works conducted
by Bernstein. Recording of the Corigliano conducted by Zubin Mehta.
Two
Commencements were held (30 April) with the University College of Fine Arts, and
held on (1 May) with the University Graduate School before a 1900 Graduating
Class, The 1st Commencement was held with the Graduating students in the Arts
and Music, with Dean Dr Lucinda Lavelli. Professor Mitchell Estrin led the
UFL Clarinet Ensemble in music leading to the Procession of Graduates, and gave
an Introduction and Testimony about Mr Drucker and Mr Drucker spoke to the
Class. A Doctoral award plaque was presented to him by Dean Lavelli
with a standing ovation honoring his contribution to music and the joy and
passion of it. The Clarinet Ensemble performed a work also honoring
Mr Drucker.
On 1 May, the Graduate Commencement was held before over 5000 attendees
including the Graduate Class of 2010 of 1900 students to be given their degrees.
Mr Drucker received his Conferred Honorary Doctorate presented by President of
the University of Florida Dr J Bernard Machen and the Provost.
In addition to the Conferring of degree, Dr Drucker conducted a 2 hour
Master Class that same afternoon for University students as part of his
residency. Four advanced students were intensively coached on
prepared music and Orchestral excerpts. The following two days were
focused on rehearsals and recording sessions on an upcoming CD performed by the
University of Florida Wind Symphony including Drucker as soloist in the Weber
Concertino Op 26, Harmonie Wind version, and the Scott McAllister Black
Dog.
Like the final Concerto Drucker played with the New York Philharmonic last June
(Copland Clarinet Concerto), this past 4 days has been a high point of the year
for everyone who came and was involved. Professor Estrin, a longtime
Orchestral colleague in the NY Phil with Dr Drucker and a former Juilliard
student and a lineage teacher of his concepts, places Dr Drucker as a part of
the University musical life. This week was an historic event for this
School of Music.
Copyright © 1999 WKA-Clarinet.org. All rights reserved.
Revised: August 01, 2010
