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The International
Contents Spring 1979 Clarinet Society
An Interview with Karl Leister 6

International Clarinet Congress 12 President, Lee Gibson, School of Music, North Texas State
The Stein Comer 13 University, Denton, Texas 76203
Keith Stein Past President, Ramon Kireilis, School of Music, University of
Studies in Contemporary Music for 14 Denver, Denver, Colorado 80210.
the Pre-professional Clarinetist Vice-President, Glenn Bowen,1925 Kendall Ave., Madison,
Allen Sigel Wisconsin 53705
A Belgian Clarinetist Visits Canada 15 Secretary, Alan Stanek, Dept. of Music, Idaho State Univer¬
H. Bruce Lobaugh sity, Pocatello, Idaho 83209.
A Translation and Commentary of Heinz 16 Treasurer, David Randall, Dept. of Music, Brigham Young
Becker's "The Chalumeau in the Works University, Provo, Utah 84601
of Telemann" Editor, James Gillespie, School of Music, North Texas State
Albert R. Rice University, Denton, Texas 76203
John Denman at the Wigmore Publisher, james Schoepflin, Dept. of Music, Washington
Hall, London 20 State University, Pullman, Washington 99164. Phone (509)
Victor Slaymark 335-8524
Keith Puddy in Recital and Workshop Publishing Associate, Betty Brockett, 1774 Avalon, Idaho
at Brandon University 20 Falls, Idaho 83401. Phone (208) 522-0908
]ames Manishen Editorial Associates, Keith Stein, 150 La Huerta, Green Valley,-
Record Review 21 Arizona 85614; Himie Voxman, School of Music, University
)ohn Mohler of Iowa, Iowa City, Iowa 52240
I Love Paris in the Springtime 24 Editorial Staff, John Mohler (Editor of Reviews), 2741 Aurora,
Suthira Powfll Ann Arbor, Michigan 48105; Rolf Legbandt (Associate for
The British Woodwind Workshop 26 Reviews of Recordings), School of Music, Ball State Uni¬
Harry R. Gee versity, Muncie, Indiana 47305; Mary Jungerman, 4490
From the Editor's Desk 28 Squire Circle, Boulder, Colorado 80303; Bruce Bullock,
Denmania 29 School of Music, Northeast Louisiana University,
John Denman Monroe, Louisiana 71209; James Schoepflfri (address
It Don't Mean a Thing If It Don't above); Henry Gulick, School of Music, Indiana University,
Have That String 30 Bloomington, Indiana 47401; Richard Gilbert, 201 E. 21st
Henry Duckham Street, No. 15-L, New York, NY 10010
Selected Clarinet Solo and Chamber
Bumet C. Tuthill Research Library, Norman Heim, Director,
Music by The Danish Composer
University of Maryland, College Park, MD 20742
Jorgen Bentzon 32
Ronald Peter Monsen Regional Chairmen:
Concert Reviews 35 Northeast: Frank Stachow, Lebanon Valley College, Depart¬
Paul Harvey ment of Music, Annville, Pa. 17003
New Music Reviews 37 New York City: Richard Gilbert (address above)
Henry Gulick Southeast: F. Gerard Errante, 1444 Melrose Parkway, Norfolk,
Dr. Norman Heim Va. 23508
Jack Brymer in Australia North Central: Jack Snavely, Department of Music, University
A Report by Neville Thomas 41 of Wisconsin of Milwaukee, Milwaukee, Wis. 53201
South Central: Wilbur Moreland, Department of Music, Uni¬
Announcements 42 versity of Southern Mississippi, Hattiesburg, Miss. 39401
Northwest: Philip Aaholm, Department of Music, University
COMMERCIAL ADVERTISING of Colorado, Boulder, Colo. 80302
General Advertising rates: Southwest: Albert Rice, 9903 Holt Road,Carmel, Cal. 93923
Inside Front Cover $110.00
Inside Back Cover 110.00 Western Canada: James Manishen, School of Music, Brandon
Full Page 90.00 University, Brandon, Manitoba, Canada 7A 6A9
Half Page 50.00 Eastern Canada: Avrahm Galper, 679 Coldstream Avenue,
One-fourth Page 25.00 Toronto 19, Ontario, Canada
One column-inch 6.00 National Chairmen:
A 10% discount on the second entry will apply for two or Australia: Neville Thomas, 36 Bishop Avenue, Rand-
more consecutive entries of the same advertisement. wick, Sydney, Australia 2031
Circulation Information: Czechoslovakia: Milan Kostohryz, U Smaltovny 22/A. Praha
(a) Rates based on 1200 copies 7, Czechoslovakia
(b) Character of circulation: Clarinet teachers, students, & England: Jack Brymer, Underwood, Ballards Farm Road, South
professionals; college music departments & libraries. Croydon, Surrey, England
(c) International circulation.
Camera-ready Commercial ads should be sent directly to
Publisher: H. james Schoepflin
Department of Music, W.S.U.
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The Clarinet — Spring 1979 5

An Interview with Karl Leister
KL: Because I helped her with her mouthpiece. When she

came with the Los Angeles Philharmonic conducted by Zubin
Mehta she played for me, and she didn't have very good
mouthpieces. I found some mouthpieces with a facing like
mine, and she was very happy.
LG: I first heard her play with what I thought was a Wurlitzer
mouthpiece that she got with her clarinet, and then the next
year she was playing a different mouthpiece, but she still
doesn't sound like you do. The one I got from Hans Kreul I
presume he got from someone else. It looks just like the one
Michele was playing a few years ago.
KL: It's a problem to get a very good mouthpiece if you play
the German system in the States, isn't it?
LG: Yes. I still have the mouthpiece that came with my Ger¬
man clarinet when I went to Hammerschmidt to try out his
clarinet just outside of Innsbruck, Austria.
KL: The Viennese clarinet player plays the Hammerschmidt.
LG: Prinze?
KL: Yes, Prinze. I'll meet him in Salzburg when I go back.
LG: That's too bad he was unable to come to Toronto. I
realize from having blown both of the clarinets—that is the
Wurlitzer and the Hammerschmidt—that there's quite a dif¬
ference between them. They are entirely different in the bore
and in the undercutting.
KL: Wurlitzer for me at this time is the best clarinet maker
Karl Leister was born in 1937 in Wilhelmshaven and first for my system because he changed something in the bore.
studied clarinet with his father, formerly clarinetist and bass Ten years ago the bore was more open. Now it's smaller. It's
clarinetist in the Radio Orchestra in Berlin. From 1953 to 1957 better for the intonation in the high register, and it's very nice
he studied at the Hochschule fur Musik with Heinrich Geuser. through all the scale. The sound is more compact, not broken
In 1957 he was named clarinetist in the Orchester der Komischen sometimes. He's a very fine clarinet maker.
Oper Berlin under Walter Felsenstein, and in September of LG: Do you know Rolf Kubli of Zurich?
1959 he became the Solo Clarinetist of the Berlin Philharmonic
Orchestra. He won important national and international KL: Yes.
competitions and has recorded much of the standard solo and LG: He also gets a very fine sound. He sounds the most like
chamber music literature for the clarinet. He presently serves you of any of the European clarinetists that I've heard. For
on the faculty of the Karajan Academy in Berlin.
instance, in Munich I got the impression that players were
In August of 1978 Leister appeared as a faculty soloist at
possibly still playing the older, larger bore clarinet, not like
the International Clarinet Clinic/Congress at the University the one that you're playing; and I thought that the intonation
of Toronto where his performances were met with unparal¬ was not quite as good as yours. But the Munich Philharmonic
leled enthusiasm. The following interview, taped during an I thought was excellent. I don't know the clarinetists. 1 didn't
early morning breakfast during that Congress, was made with
get a chance to meet them.
Lee Gibson and james Gillespie. (The Editor wishes to thank
Noah Knepper for his assistance in the taping and photo¬ KL: There is always something we must change because you
graphing of the session.) cannot get a clarinet with excellent intonation. It's impossible.
LG: What is the tip opening of your mouthpiece? We must hear, and when we play we must change as we play.
It's very important when you play with a piano. It's very
KL: Not very open. It's a longer lay.
difficult. These pianos here in Toronto are very low, but in
LG: I know what the German mouthpiece is. When 1 play on Germany they are tuned to 445.
my German clarinet, I use the original mouthpiece which is
LG: Did you play a longer barrel here?
very much like the one Michele Zukovsky plays. My facing
is very much like hers. KL: I didn't play the Wurlitzer clarinets when 1 played here
with the piano. You probably couldn't tell the difference. It
KL: When did you meet her?
was a Uebel. It's 25 years old.
LG: Last year and the year before.
LG: So it is a larger bore instrument?
KL: After she was in Berlin?
KL: It's lower. I know in the States you play at 440 or 442.
LG: Yes. )G: Do you make your own reeds?
6 The Clarinet — Spring 1979
KL: No, I get them from Gebhard Steuer. He's the greatest beginning of my listening to the clarinet. My son is ten years
reed maker in Germany. old, and he likes to play the cello. It's very interesting. 1 had
a tour with a chamber ensemble a few years ago and my son
LG: We also want to ask you about the music schools in Berlin came with me. He always listened to the cello, and afterwards
and in Germany and the training which your students receive. he said to me, "Oh, I want to play cello." And 1 asked him,
I presume you are teaching? "Wfhy?" "Oh, it's a fantastic sound!" I liked this. He was
seven years old, and 1 said, "Oh, that's marvelous. I like the
KL: Yes. cello, too." I mean the sound is nearly like the clarinet. You
LG: Are they in a conservatory? can make almost the same sound on the clarinet as you can
on the cello. Its color is very similar to the clarinet.
KL: No. 1 teach at the school of the Berlin Philharmonic—the
JG: I was very interested that you chose to play the Saint-
Karajan Academy. 1 also teach other private students. I'm not
Saens Sonata yesterday. In America we tend to think that
at the high school in Berlin because then I couldn't play in the
German players stay more with the traditional German liter¬
orchestra. It's impossible to do both. It's either the high school
ature, and it was refreshing to hear otherwise. Are there
or the orchestra, and 1 like to play in this fantastic orchestra
American works that are popular among German clarinet
conducted by Karajan. 1 think it's the best job I could have.
players?
LG: Your schooling was obtained in Berlin?
KL: Yes, but not so much. Do you think we ought to try to
KL: Yes, I studied in Berlin with Henrich Geuser. He's now play more American pieces?
69 years old and he's stopped teaching.
JG: Yes.
JG: Was he your principal teacher?
KL: I have played Bernstein's Sonutn. It's very fine music and
KL: No, my principal teacher was my father. He was a clarinet rhythmic. I like it. Two years ago I played the Copland with
player, too. And when I began 1 got many fantastic things Copland conducting. That was at the Festival in Berlin. It was
from my father. He was a bass clarinet player with the Radio a very fine moment for me to play this concert with Copland.
Symphony Orchestra in Berlin. He stopped playing five years
JG: Are those the two best known American works—the
ago when he was 65. He will be 70 this August. This was the
Bernstein Sonata and the Copland Concerto?
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KL: Yes, and it's something we don't get in Germany. music with a string quartet. To play with a string quartet is
one of the finest things we have.
LG: You mentioned the chamber music tour—did you go with
the Berlin Philharmonic Octet, or have you ever played with JG: Did you know the Bliss Quintet that Jack Brymer played
them? I've heard them twice, and you haven't been with them. last night?
KL: Yes, I have been in the orchestra 19 years, and I begin my KL: Yes, it's a very fine piece. He's a very fine man. I've known
twentieth year in the Berlin Philharmonic. Before that, I stayed him for 20 years. I first met him in Munich in 1957 when I
in the opera d'comic under Walter Felsenstein in East Berlin was playing for the Competition.
for three years. It was very interesting work for me right after
I got out of high school. I was 19 years old. After this I changed JG: You won it that year didn't you?
in the same town and came to the Berlin Philharmonic. KL Yes, and five years later, too. It was very hard for me in
LG: You were reared in which. East or West Berlin? 1962 because I had a name from being in the orchestra. I
thought I'd like to go there again and knew I would have to
KL: We lived in West Berlin. Before the wall you could go to play well.
East or West Berlin and work, but after the wall it was impos¬
sible. That's a hard place to see in Berlin—the wall. LG: What is the name of the Munich Competition?
LG: You did move to the Berlin Philharmonic before the wall, KL: It is the International Music Festival Competition. Clarinet
though, didn't you? competition is held only every five years. There was a very
fine clarinet player who won it later.
KL: Yes, in 1959.
LG: Frank Cohen? He won it in 1972? He plays First Clarinet
JG: Do you have any solo recording planned for the near in the Cleveland Orchestra. Marcellus is retired and is now
future? conducting and teaching at Northwestern University. He is
also the Director of Music for the Interlochen Academy. He
KL: There's a new record out on which I play the Saverio
divides his time between the two.
Mercadante Concerto. This is a romantic concerto with chamber
orchestra in only two movements—there's no slow move¬ KL: Marcellus is a very fine player. I know him from records
ment. It's very technical—like Weber. The very last movement and many records with George Szell and the Cleveland
is very interesting; it's a theme and variations. It's very fine Orchestra.
music. I made this for an Italian company. (See Discography.
Ed.) LG: Did he once conduct the Berlin Philharmonic?
JG: Have you recorded both Weber concertos? KL: We made one record, and only one, with him and the
orchestra. He was a very fine conductor for records. We made
KL: No, only one—the first—with Kubelik. My heart is in the Dvorak cello Concerto with Pierre Foumier. It is a marvel¬
chamber music and with the new ensemble in Berlin from the ous record. He also conducted many concerts in Salzburg and
winds of the Berlin Philharmonic. We play Mozart's C Minor Berlin. The last time we met him was in Japan before he died.
Serenade and the E-flat Major, and we have the fantastic piece
—the Partita for thirteen winds. We play many concerts, and LG: There are two clarinet makers named Hammerschmidt
we play at the festivals in Salzburg, Berlin, and in many towns aren't there? One near Innsbruck and the other in Germany?
in Germany. It's a fantastic ensemble, and we've made a new KL: Yes, in Burgau in Schwaben.
program with the Dvorak Serenade and the Brahms Serenade
with strings. The first oboe player, Lothar Koch, is a fantastic LG: His catalogue of instruments is unrelated to that of the
musician. I have a trio, too, for clarinet, cello, and piano named Austrian?
the Brahms Trio. I like this combination with cello. KL: Yes, and he makes something to make the B-flat very
LG: What are the names of your collaborators in the trio? clear—a separate key. But now when you play the instrument
his B-flat is too clear.
KL: The cellist is Jorg Baumann, and David Levine, who stud¬
ied with Rudolph Serkin, is the pianist. LG: It's like the system on the Mazzeo or the Stubbins. For
some people the Stubbins B-flat has been insufficiently
JG: Will we hear a Leister trio someday with your son? resistive.
KL: I hope so! KL: Yes, because when you play B natural going to the B-flat,
there's too much change in the color. It's too clear. When we
JG: Do your reeds that you buy from Steuer require a lot of
play this sharp B-flat we must make a resonance in our mouth
adjusting?
because the air column is very short. I hold down the right
KL: Yes, because the weather affects the reed. It's always hand to get a longer, flowing, and more swinging tone. I think
changing. that's important. We must change it.
JG: Do you plan to come back to Canada or America soon? JG: You do that also on A, don't you?
KL: Next year I'll be in Mexico City to play there. I don't KL: Yes.
know exactly when yet, but the conductor of the Mexico City
LG: I noted yesterday that on the instrument you were playing
Orchestra has asked me to come and do a lecture demonstra¬
that you hold your right hand down on the G and F#, but
tion like the one here in Toronto. There will also be chamber
one less finger on the A and the B-flat.
KL: Yes. It's very interesting to play a sound that you want to
play. The important thing is the mouthpiece and listening
before you play. When I play on a Boehm clarinet 1 try to get
the same sound as 1 play now. We must do more for the
sound in the music—to get our own voice. But there's some¬
thing else. We must ask ourselves what we like and find this
way, not stopping until we get it. That's important!
LG: But there is a characteristic, by the way, in listening to
your instruments as you play them and in comparing them
to all the other sounds we've heard. There are differences that
cannot be accounted for entirely by the preference of the
person for a particular sound. The instrument itself still does
make a difference. Did you hear Mitchell Lurie last night?
KL: No, but 1 have heard him before.
LG. The sound that he gets is much more characteristic of the
kind of sound we hear in America. I would have to say,
frankly, that my own personal preference is for your sound,
and 1 would not run down or disparage Mr. Lurie's sound
because it's very near, I'm sure, to the same kind of sound
I'm going to get if 1 play those instruments, as most of us do in
this country.
KL: But I think we have come closer together within the last
twenty years. You can hear it in the records.
JG: Even among the French players. Don't you find that the
French are changing?
KL: Yes. I talked with Mr. Delecluse when I met him in 1957
in Munich and we discussed tone. He told me I had a very
special sound, and he didn't like it. 1 don't know why.
LG: We find in this country that your sound is the kind of
sound we have always tried to get.
KL: This is what I mean—in our ideas we are coming closer
together.
LG: Actually I find there is much more communion with your
sound than with some of the other sounds we've heard. In
other words, we're trying for your sound, and as to how close
we can get with our clarinet—that's the problem.
KL: It's very important to practice together, to hear, and to
demonstrate, because you cannot only explain it, the student
must hear it.
LG: I have much more difficulty in adjusting to Jack Brymer's
sound, but I have no difficulty at all in adjusting to yours, and
that doesn't disparage his sound which is quite representative
of the way the English think they should play.
Kb Yes, in Great Britain it's another kind of clarinet playing.
But when Jack plays, it's not too heavy. It's very nice, always
light and swinging, but I don't like to make a vibrato.
LG: When I heard the Munich Philharmonic last—it was two
years ago—I found that the principal clarinetist was making
a sound which 1 characterize as the older German sound, not
your sound. I don't know the name of the player. It was harder
and heavier.
KL: When someone asks me this about the German sound,
I say it's not correct. 1 had a new idea about the sound, and I
don't think you can classify sound. We are all trying to find
the very beautiful sound. You cannot say that I'm a German LG: When you come to Mexico, you must come to visit us in
clarinet player, but I don't have a special sound like the Texas.
sound before.
JG: Thank you very much for your time.
JG: What influenced you? Did some player influence you in
developing your sound? Kb You are welcome, and I hope we can meet again.
KL: No, it was just my own. JG: I hope so.
LG: How much influence did your father's sound have upon
yours?
KL: It was different because he started earlier. He had another
kind of playing. We had a very nice clarinet player in the
Berlin Philharmonic before. His name was Alfred Biirkner, A Leister Discography
and I got this position in 1959. He was made second clarinet.
(All of the recordings may not be readily available in the
Now he is going out. He also played with a very fine sound,
United States. Record numbers are provided in instances
like mine. I want to find a way to get a very concentrated
where this information was known. Ed.)
sound, but very clear, dark, and soft, too. Never hard or
broken—always singing. Deutsche Grammophon Gesellschaft (Polidor International):
NK: (Noah Knepper) Would you name some of the famous W. A. Mozart, Clarinet Concerto, KV 622; C. M. von Weber,
older German clarinet players? Clarinet Concerto No. 1, Op. 73; Berlin Philharmonic, Rafael
Kubelik conductor (136550)
KL: Yes, we have some very famous and interesting clarinet
W. A. Mozart, Sinfonia Concertante, KV 297b for Oboe, Clarinet,
players: Schutte, who came from Dresden, Schreinicke from
Horn and Bassoon; Berlin Philharmonic, Karl Bohm conductor
Leipzig—he's very old—85. Another famous player was Rudolf
(139156)
Gall from Munich. He died in 1962. There are others, too.
W. A. Mozart, Clarinet Quintet, KV 581; Berlin Philharmonic
LG: In the Karajan Academy, do the students finish when Soloists (138996)
they receive a diploma?
J. Brahms, Clarinet Quintet, Op. 115; Amadeus Quartet (139354)
KL: No, they study there when they finish the other high
J. Brahms, Clarinet Trio, Op. 114; with Christoph Eschenbach
school. They can play in the orchestra, too, sometimes. There's
(139398)
a problem in that they don't receive a diploma now, but I
think it's coming because of the new high schools. It's very J. Brahms, Clarinet Sonatas, Op. 120 Nos. 1 and 2; with Jorg
interesting for the student to study here, and they get a Demus (2740117)
scholarship. M. Reger, Clarinet Quintet, Op. 146; Drolc Quartet (2530303)
L. van Beethoven, Trio, Op. 38 (from Septet, Op. 20); Wolfgang
Bottcher, cello, Eckart Besch, piano (Archive Prod. 2533118)
L. van Beethoven, Trio for Clarinet, Cello, and Piano, Op. 11;
Pierre Fournier, cello, Wilhelm Kempff, piano (2720016)
L. van Beethoven, Sextet, Op. 71; Winds of the Berlin Phil¬
harmonic (2721129)
L. van Beethoven, Octet for Winds, Op. 103; Winds of the
Berlin Philharmonic (2721129; 2735002)
L. van Beethoven, Quintet for Piano and Winds, Op. 16; Jorg
Demus with the Winds of the Berlin Philharmonic (2721129;
2735002)
Brilliant Wind Music of Danzi, Stamitz, and Reicha; Wind
Quintet of the Berlin Philharmonic
Angel (EMI):
James Gillespie, left; Lee Gibson, center; Karl Leister, right.
W. A. Mozart, Clarinet Concerto, KV 622; Berlin Philharmonic,
Herbert von Karajan conductor (S3783)
Eurodisc:
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International Clarinet Congress
UNIVERSITY OF DENVER
AUGUST 13-17,1979
This international clinic presented by the Lament School 2. A nonrefundable $30 application fee
of Music of the University of Denver is designed to provide a 3. A monaural tape recorded in one direction only, at V-Vz
forum for the consideration of matters concerning the clarinet. inches per second, of professional quality. Tapes not meet¬
The week consists of a series of lectures, recitals and discus¬ ing these requirements will be eliminated at the preliminary
sions on clarinet performance, pedagogy and manufacture. judging. Use of accompanist is optional.
Highly respected clinicians will examine, through lecture
All tapes become the property of the University of Denver.
and performance, current trends in literature, style and in¬
Requirements. Submitted tapes must include the
struction. Major clarinet manufacturers will present displays
following:
of instruments. Literature displays by Luyben's Music of
Kansas City will be valuable in locating "hard to find" publica¬ 1. Baermann (Wagner)—Adagio
tions and in discovering new works. Many sessions require 2. A one-sentence statement saying that the performance on
the use of several instruments (master session, clarinet choirs, the tape is that of the contestant and indicating the record¬
etc.), so be sure to bring your clarinet. ing date.
Fees and Housing. The enrollment fee is $99 if paid Competitors should also be prepared to perform the
before July 30. After that date, the fee is $109, which may be above work for the semifinal round of competition.
paid at registration the morning of August 13. In an effort to The following work will be asked of those reaching the
encourage students to attend, a special group rate of $79 per final round: Weber, Concertino.
person is available to any group of five students from the same Preliminary Judging. Tapes will be judged by a profes¬
high school or college. Group forms must be received by sional committee and eliminated if requirements for the com¬
July 30. Husbands and wives wishing to register jointly may petition are not met. Candidates accepted for the semifinal
do so for a single fee of $119. Other relatives are not subject competition will be notified as soon as possible after the
to this plan. preliminary judging. Candidates must notify the International
The University of Denver provides room and board Clarinet Competition of their intention to compete in the final
facilities for individuals and families. Housing reservations competition within ten days after acceptance.
must be made in advance of the opening of the clinic and are Final Competition. All semifinalists will be heard Sunday,
independent of registration procedures. Housing information August 12, on the University of Denver campus. At that time,
will be mailed upon request. finalists for the Monday (August 13) final round will be
Exhibits. Persons wishing to exhibit at the Clinic may do chosen.
so by forwarding the exhibit fee of $100. Set-up time is sched¬ At the Monday concert, which is open to the general
uled for Sunday, August 12, 1979, at 1:00 p.m. Specification public, the finalists will perform. Winners will be announced
of the number of 2' by 5' tables and other needs should be at the conclusion of the concert. Judges will be members of the
included with the fee (see registration form). 1979 International Clarinet Congress faculty.
Master Lesson and Symposium. This year's Clinic will Programs need not be memorized, and the University will
be preceded by a three-day private and group instruction sym¬ offer its piano faculty for contestants not bringing their own
posium, August 9-11, headed by faculty members Leon Rus- accompanist.
sianoff and Karl Leister (tentative). Each registrant in this
special class will receive two private lessons from the teacher
of his choice and will attend two group seminars. The Sym¬
posium will be held at the University of Denver. Tuition is INTERNATIONAL CLARINET CLINIC FACULTY
$150-$300. Mr. Russianoff also plans to be available in Denver
from July through the Congress. Write for specific information. Leon Russianoff, renowned artist-teacher in New York
Anyone interested in having Karl Leister appear on their City. Sponsored by the Yamaha Corp.
campus while in the U. S. A. should notify Dr. Kireilis. John Denman, active London soloist and recording artist-
professor of music at the University of Arizona.
INTERNATIONAL CLARINET COMPETITION Ramon Kireilis, director of the International Clarinet
Congress and Competition.
Eligibility. The competition is open to anyone nineteen Hans Rudolph Stalder, eminent Swiss clarinetist^ soloist
years of age or under, not yet having entered college, from the with the Tonhalle-Orchestra of Zurich.
United States or any foreign country. Former first prize win¬ Karl Leister, solo clarinetist with the Berlin Philharmonic;
ners are not eligible to compete again. faculty member of Karajan Academy of the Philharmonic.
Awards. The top three finalists will have their choice of The Congress intends to invite the following additional
professional-line clarinets donated by Buffet, Selmer, Conn clarinet artists;
or Yamaha. All semifinalists will receive favorable considera¬ Frank Cohen, solo clarinet, Cleveland Symphony Or¬
tion for financial aid at the University of Denver pending chestra.
admission. Finalists will receive a full scholarship to the 1979 George Silfies, solo clarinet, St. Louis Symphony Orches¬
International Clarinet Clinic. tra.
Applications. The following must be submitted by July Robert Marcellus, professor of music at Northwestern
15, 1979. University; former Cleveland Symphony Orchestra soloist.
1. Registration form And many more.

The Stein Comer
Overcoming Tension in Playing

of overtones. Seizing upon what he figures to be a rewarding
by Keith Stein thing he continues to blow more and more pressurized breath
Manifested tension in one's playing restricts his freedom until the air column becomes overfilled (the tone overblown);
of response, accounting in part for his slow progress com¬ the throat narrows with tension to resist this onslaught of air,
pared with the great amount of study and practice expended. creating a backlog; and the nearby jaw and tongue sympa¬
Tensions creep insidiously into one's playing. Soon he feels thetically tighten up. The more effort he applies the more
comfortable with tension present as he plays and very strange encumbered he becomes with resistances, and thus he is able
and at a loss when eliminated. to realize only a small percentage of his real capability. This
Tenseness commonly shows up in wrists and finger joints. is one reason most players are far ahead musically and inter-
The clarinetist, who has played for some time this way is diffi¬ pretatively than they can play technically and tonally. Once
cult to convince that he is rigidly bound up. The cause may released from these restrictions they can play freely and
originate from physical or mental sources—carrying the weight fluidly. Technique no longer occupies most of their concern
of the instrument, particularly with the right hand thumb; whereas phrasing, shading, execution of a beautiful legato
the strange arrangement of hands and fingers on the clarinet; line, and other musical items can now receive the major
or possibly a sympathetic tightening up when blowing begins. attention.
To play a single tone the beginner is required to simultan¬ The thrust of thie brief discussion concentrates on treat¬
eously arrange his lips into a certain muscular shape, make ing tension from the total body point of view first before
airtight tone hole coverage, and stimulate the reed into vibra¬ proceeding to particular areas. The idea is to proceed from the
tion with air flow. This immense undertaking is enough of general to the specific areas, first by placing the overall body
itself to initiate him into the world of tension. into the most favorable and receptive state for undertaking
As mentioned, tenseness can stem as well from mental any activity, tennis, golf, clarinet playing or whatever. Easeful
concern—fear of making mistakes; playing in public; frustra¬ overall posture influences detailed areas to follow the pattern.
tion from technical difficulties; inability to play high tones; Formula for Overall Body Posture
breaking the tone in throat tone crossing the register—to
mention only a few. We learn from the Alexander Technique (a system of
therapy based on posture, balance, relaxation, and correct
Another instance wherein tenseness is likely to develop
breathing) that total body relaxation is aided by a mental
has its origin in the breath. More advanced players soon learn order for the body to assume a continuous unceasing upward
(not from instruction) that more intensified flow of breath direction beginning in the feet and proceeding through the
affords a better tone quality by blowing up a greater number entire body up to and beyond the head. Making use of this
dynamic upnessjn one's daily living affords a sense of light¬
ness and ease as it opposes the bearing down of gravity.
The procedure is designed to first eliminate "sets" or rigid
fixing in any and all joints and muscles over the body. Stand
upright and think of an arrow beginning from the feet im¬
planted on the floor, ranging up through the ankles, calves,
trunk, neck and on through the top of the head and beyond.
The body must not physically raise itself in any way, the
dynamic "upness" achieved solely through mental dictation.
The physical body will then take over the mental command
and respond itself.
Let go in the ankles, then in the knee joints, flexing them
loosely to insure their full relaxation. Next "let go" in the hips
and weave them about like a belly dancer. At this point
mentally repeat the statement—"I want my back to lengthen
and widen, and my neck to "let-go" so that my head can lead
forward and up." Allow the head to limply drop the slightest
bit forward to insure that it does not set itself in a fixed back-
• Music bard position. Caution—make certain the mental desire is in_
no way accompanied by physical movement to aid the matter.
Write for Free Price List | "Let-go" in the neck aided by weaving the head loosely
back and forth (like an apple on a stick).
Dennis Bamber Gently sway the total body in one piece back and forth,
rocking from the bottoms of the feet in a delicate state of
219-272-8266 imbalance. This maneuver helps the whole anatomy to main¬
tain a non set attitude the same as we try to establish in the
50741 U.S. 31 North | joints.
This then, is the most advantageous relaxed state for
South Bend, overall body posture. The next step is to turn our attention to
Indiana 46637 the relaxation of specific parts. A following article will con¬
tinue with locating and treating particular areas where tension
is most likely to infiltrate.
The CUirinct — Spring 1979 13
Studies in Contemporary Music for the
Pre-professional Clarinetist
more animated as eighth and sixteenth-note patterns are intro¬

duced. Bring out clearly the beginning of the "A" theme in
meas. 1,8,29,45. Count carefully, taking care that the rests are
given their exact duration.
"B" is based on a three-note motive of rhythmic vitality.
It should be played with a keen sense of accent and as a transi¬
tion to the "C" section. "C" is a plagiarism for which Bizet
would, I trust, forgive the composer. Strong accents, firm
rhythm and precise dynamics will make it sound effective.
Meas. 91-93 present a variation of the scalar pattern intro¬
duced in meas. 21-22. Meas. 95-end present a motive intro¬
by Allen Sigel duced in meas. 32, which is related to the sixteenth-note
motive in Bizet's original melody, meas. 81.
These two brief rhythmic studies are intended to intro¬ A brief note on plagiarism: During earlier eras, especially
duce the clarinetist to rhythmic problems that will be encoun¬ the Renaissance and Baroque periods, it was considered a
tered in 20th-century music. high form of praise to use another composer's material in
The PRELIMINARY STUDY avoids all but rhythmic some fashion. This idea is still alive today, especially in jazz
problems. These problems are incorporated into a steady 1 improvisation where one is likely to hear "snatches" of old
meter with varying groupings, articulations and accents. The tunes in a completely new dressing. It is in this spirit of good
First of each eighth-note group should be stressed throughout. fun that these short fragments have been incorporated.
A metronome should be used until an absolutely steady beat
can be maintained. Allen Sigel is Professor of Music at the State University of New York
The METRIC-RHYTHMIC ETUDE changes meter con¬ at Buffalo. Prior to this association, he was for twelve years the principal
tinuously. With few exceptions, however, there is a common clarinetist with the Buffalo Philharmonic. He is presently at work on
note value at each meter change. Where there is not a common a volume of contemporary clarinet studies with the serious younger
note value (beginning and end of section "B"), there is a com¬ student in mind. It will be similar to his TWENTIETH CENTURY
mon speed factor, i.e. 4 = d Although this etude cannot CLARINETIST, but with less challenging technical demands. He
be played with a metronome, you can have fun with it by would appreciate hearing from anyone regarding-types of material
having the teacher or a fellow student conduct the composi¬ and/or problems recommended for inclusion. Write to: Allen Sigel,
tion. You will notice that it is composed of three sections: Department of Music, State University of New York, Buffalo NY
"A", meas. 1-63; "B", meas. 64-81; "C", meas. 82-end. "A" 742 74.
is characterized by a legato theme which gradually becomes
METRIC-RHYTHMIC ETUDE
PREPARATORY STUDY (with apologies to G. Bizet)
(with apologies to L. Bernstein)
a. / = 208 b. W = 104 c. p = 132

d = 116
14 The Clarinet - Spring 1979
A Belgian Clarinettist Visits Canada
The Champaign-Urbana Clarinet Choir began the

program with the Third Prelude and Fugue from "Eight Little
by H. Bruce Lobaugh, University of Regina, Canada Preludes and Fugues" by Bach. Following Licorice-Stick Suite
by Sears, the choir performed Pavana by William Byrd and
During the summer of 1978, the Band and Orchestra ses¬ Petite Suite by Margaret Sisson Erickson. The choir will con¬
sions of the Saskatchewan Summer School of the Arts, located cluded this portion of the program under the direction of Pro¬
on the shore of one of the lakes of the Qu'Appelle Valley, fessor Howard Klug with French Suite by Yvonne Desportes
were pleased to welcome Freddy Arteel, solo clarinettist for and Rondo alia Turka from Mozart's Serenade No. 10 for
22 years with the Antwerp Philharmonic, as a faculty member. Thirteen Winds.
Not only was Mr. Arteel to be found as a member of the The University of Illinois Bands Clarinet Choir began
Faculty Wind Ensemble at SSSA and as a performer in cham¬ the second half of the program with the Barber of Seville
ber works (such as the Stravinsky Octet), but he also presented Overture by Rossini. Following Berceuse by Jarnefelt and
masterful performances of the Poulenc Sonata, Stravinsky's Seasonal Sketches by Everett Gates, guest soloists Ray
Three Pieces, the second Brahms Sonata, and a remarkable and Sasaki and Michael Chunn were featured in a performance
effective Belgian work, Andre LaPorte's Sequenza I (1964). of the Concerto in C Major for Two Trumpets by Antonio
It was of particular interest to note the differences in Vivaldi. Concluding the concert was a performance of the
performance style of Mr. Arteel's playing as compared to the Symphony No. 100 subtitled the "Military Symphony" by
North American style as represented by other members of the Franz Joseph Haydn.
Faculty (Don Oehler of the University of North Carolina, stu¬
dent of Joe Allard; Dennis Prime, doctoral student of Glenn
Bowen at Wisconsin; James Fitzpatrick of the Regina Sym¬ P.O. BOX 2824
phony, student of David Hite and Richard Waller; and the SHALL-u-mo KOC HhSTFR. N Y. 14626
writer, student of Marcellus, Gulick, and Hasty). Mr. Arteel's PUBLICATIONS
sound is more brilliant, and he himself regards his fundamen¬
tal orientation as being in the direction of the French school.
His dynamic range was quite wide (the first movement of the THE ALTISSIMO REGISTER
Stravinsky Pieces was nearly sub-tone in quality). Most strik¬ A PARTIAL APPROACH
ing, however, was his use of vibrato, which was a definite
shock and eye-opener to most of the students. It was taste¬ by
fully done and not continually present, but for most it was
difficult to accept that the standard literature could be done
in a way different from our own.
Mr. Arteel has recently returned to an older Selmer instru¬
ment after several years with Buffets (he mentioned pitch
problems in the altissimo register). He uses a standard key
arrangement, although he is interested in new register key a reference guide for
developments. He uses a Leblanc No. 6 mouthpiece (not easily
available in the U. S.) and ZVz-S Vandoren reeds. Altissimo Fingerings for
Mr. Arteel must have begun his career as soloist with the
Antwerp orchestra in his early twenties, because-although
his heavy teaching duties at the Konservatorium in Gent have
required that he discontinue with that group, his playing skill
has in no way diminished, and he now looks forward to in¬
creased chamber playing, which will include the performance 32 ir'xl?" pages present the clarinet's
of the clarinet chamber works of Brahms during the fall of partials and 83 selected fingerings from
1978. altissimo C*/Db to the 9th above D'/E*
All are derived from a methodical
University of Illinois Clarinet Choir
analysis of the harmonic series.
Presents Concert
Excerpts display preferred utilization for
On Sunday, December 10, 1978, at 2:00 P.M. the Cham-
paign-Urbana Clarinet Choir and the University of Illinois each fingering.
Bands Clarinet Choir presented a concert at the Harding EASY TO READ...NO PAGE THUMBING
Band on the campus of the University of Illinois. (1103 South
Sixth Street, Champaign, Illinois 61820) The program was Space for your personalization
under the direction of Harvey Hermann, conductor of the
choirs, and Howard Klug, Professor of Clarinet with the Uni¬ $9.50
versity of Illinois School of Music.
Appearing as guest soloists in a performance of Vivaldi's ORDERS UNDER $10, INCLUDE 50C
Concerto in C Major for Two Trumpets were Ray Sasaki, FOR POSTAGE AND HANDLING.
Professor of Trumpet with the University of Illinois School of N.Y. STATE RESIDENTS ADD 7% TAX.
Music, and Michael Chunn, Brass Assistant with the Univer¬ Please be sure to include your name, address, and check.
sity of Illinois Bands.
The Ctarinel — Spring 15
A Translation and Commentary of Heinz
Becker's 'The Chalumeau in the Works of Telemann"1
by Albert R. Rice
ment. Therefore much evidence points out that in the course
With the fine performances of Hans Rudolf Stalder on the of the transformation of woodwind instruments, which ema¬
sopranino and soprano chalumeaux at the last International nated from Paris in the seventeenth century, the chalumeau
Clarinet Clinic in Denver, many clarinetists and teachers were also came to light toward the end of the seventeenth century
favorably initiated to the sound of the chalumeau. It then in Parisian workshops.
seems appropriate to present the following translation of a
short but important paper that deals with this little-known The dissemination of new instruments corresponds first
instrument. Becker subsequently published a long and to the path of migration which the player of this instrument
thorough study of the chalumeau in a collection of essays takes. Thus, we must direct ourselves to the early history of
honoring the German scholar, Heinrich Husmann." Small the instrument, in which it was not yet generally disseminated
letters refer to footnotes in the original article; arabic numerals but we expect to find it at individual centers. Then an instru¬
refer to my commentary. mental topography could be set up to a certain extent, which
From the autobiographical representation which Telemann becomes recognizable by way of the origin of the early litera¬
left for his Hamburg cathedral colleague Johann Mattheson, ture of this instrument. Ariosti, Ziana, both Bononcinis, and
for the printing of his Ehrenpforte (Triumphal Arch), we learn Ferdinand Tobias Richter, in whose scores we find the chalu¬
that Telemann during his stay in Hildesheim made himself meau indicated in the first decade of the eighteenth century,
familiar "with the oboe, the transverse flute, the chalumeau, temporarily lived or worked in Vienna. Ludwig Ritter von
the gamba" and so on.3 In contrast to Mattheson, who in his Kochel in his work on Die kaiserliche Hofmusikkapelle zu Wren
Neu-eroffnele Orchestre (Newly inaugurated orchestra) comments von 1543 bis 1867 (The Imperial Court Music Orchestra at Vienna
rather unfavorably on the sound of the chalumeau,4 Telemann from 1543 to 1867, Vienna, 1869) actually was able to prove by
must have had entirely better experiences with this instru¬ documentation that chalumeau players were employed about
ment, because he prescribes it repeatedly in his scores and 1710 in Vienna. Telemann's experience in Braunschweig was
even employs it soloistically. Since the chalumeau is also used confirmed by the use of the chalumeau particularly with Rein-
by numerous other contemporary composers, this remark of hard Keiser who, as is well known, before his time in Ham¬
Mattheson's does not seem to deserve the weight given to it burg was employed as conductor in Braunschweig before
up to this point in the musicological literature. Until now one 1695. Additional centers for the cultivation of chalumeau
assumed that the chalumeau was a primitive instrument, little playing can be located in Dresden (Hasse, Heinichen, Zel¬
variable in respect to its sound and unqualified for a higher enka), Frankfurt (Telemann, Konig) and Darmstadt (Graup¬
claim to art. Just the impressive list of composers who pre¬ ner). In no case here have we knowledge of the players of the
scribed this instrument in their scores, however, provides us instrument.8
with doubt in this assumption. Here we meet upon such Joseph Friedrich Bernhar^ Caspar Majer offers the most
names as: Attilio Ariosti, both Bononcini's, Josef Bonno, Karl thorough contemporary source for the chalumeau, in his
Ditters von Dittersdorf, Johann Friedrich Fasch, Johann Josef Museum Musicum which appeared in 1732. Here a description
Fux, Christoph Willibald Gluck, Christoph Graupner, Georg is given in paragraph 5 of section II, which is borrowed literally
Friedrich Handel, Johann Adolf Hasse, David Heinichen, from Walther's Lexicon.
Reinhard Keiser, Johann Melchior Molter, Georg Philipp Tele¬ Chalumeau... a shawm or shepherd's pipe made from
mann, Jan Dismas Zelenka, and others. We know now more some parts of cane called calamus. Besides this meaning,
than twenty notable composers in the first half of the eigh¬ it is also found as the chanter in a bagpipe. Furthermore,
teenth century who composed for the chalumeau and appar¬ it is a small woodwind instrument that has seven holes
ently to whom neither its sound appeared too rough nor its and a range from f to a". Also the name for a little wind
technical playing possibilities too small.5 When therefore, instrument made from boxwood that has seven holes,
Diderot-D'Alembert, in the Lutherie of their Encyclopedie two brass keys up near the mouthpiece, and an additional
(1753), designate the sound of the chalumeau in the sense of a partes hole near the bottom. It has a range of from P to
Mattheson as "sauvage et desagreable" (savage and disagree¬ a" and b"-flat, possibly also to b" and c"'.Q
able) and give the reference that this instrument is no longer Only the two last mentioned types are of interest to us:
in use in France, then the question appears to us whether in 1. The keyless chalumeau with seven frontal bore holes,
each case under the designation chalumeau one and the same range: P to a".
instrument was meant." 2. The same instrument with two keys and dorsal hole, range:
Probably it is no coincidence that all proofs for the P to b"-flat (b", c'").
employment of the chalumeau in art music originate in the The first type is represented by Diderot-D'Alembert in their
eighteenth century. None of the known scores of the seven¬ encyclopedia with the reference that it was in their time (1753)
teenth century exhibits a chalumeau part.7 We are able to no longer in use. Contrary to the statements of Majer, this
reason from that that the chalumeau was not developed until instrument is depicted with a dorsal hole or thumb hole, and
the end of the seventeenth century. Telemann's remark on the it must also be assumed to exist on Majer's instrument on the
chalumeau in his autobiography refers to his stay in Hilde¬ basis of the range (to a") given by him.10 Majer's indication
sheim, which falls in the years 1697-1701. Here Telemann that the range of the keyed-chalumeau occasionally extended
gained contact to French musicians of the court of Braun¬ up to c'" is remarkable. Therefore, because this range is con¬
schweig. These relationships can be called upon to a certain firmed by a contemporary theoretician, this instrument, if only
extent as evidence for the French origin of this instrument, occasionally, was able to overblow since the c"' lies beyond
which is even supported by the French name of the instru- its fundamental scale.11
16 The CLumet — Spring
The next paragraph in Majer's Museum Musicum, which is in C, is therefore false. Actually, we are dealing here with the
independent and was not taken from Walther's Lexicon, tells fourth chalumeau mentioned by Majer, that sounds a fourth
us that the instrument was built as a family. lower as it is played. Therefore, the range c' to f", which was
One has usually soprano, alto or fourth chalumeaux, also investigated with the aid of the score, must be placed about
tenor and bass chalumeaux, some with French and some a fourth higher so that the notated range corresponds with the
with German pitch. They are, particularly because of the compass, as Majer states it, P to b". Other non-diatonic tones
clumsy mouthpiece, very hard to blow. Their fingerings which appear are b', c"-sharp and f"-sharp. This means that
correspond most closely with the flutes [recorders], but on the chalumeau the chromatic seven degrees between a'
their range does not extend much over an octave. There¬ and g were able to have been played. The second chalumeau
fore, it is thought unnecessary to report at further length employs the range from low F to a, G-sharp, c-sharp, d-sharp
on this matter, especially since if one is able to play the and f-sharp are required as chromatic tones.
flutes one can also perform on them easily.12
Therefore, we are dealing here with an instrumental type, Concerto in C major (1033/38): 1st Chalumeau
which evidently was built after the Flute a bee (recorder). -••• 4
Presumably one wanted to replace the flute, which no longer
satisfied the standards of the time with its soft tone, by an
4^
instrument stronger in sound. Much evidence speaks for this
assumption, evidence whose discussion would go beyond the iAM 1 .r? Ft=
V *9 P
scope of our topic. y l -U I ' [
Telemann employs the chalumeau in several works, as
in the cantatas "Danket dem Herm Zebaoth" (1718), "Der The concerto in D minor (1033/50) confirms our observa¬
feste Grund Gottes" (1721), "Mit Gott im Gnadenbunde," tions. The first chalumeau is key notated in the score, thus
"Christus ist um unserer Missetat willen" (1721), "Sehet man written transposed. Therefore, here we are likewise dealing
die Exempel der Alten" (1748). In the opera "Genserich" (also with the fourth chalumeau. The chromatic tones required are
known as 'Sieg der Schonheit"), in his passion oratorio b and g-sharp/a-flat, which is newly added, and c"-sharp.
"Seliges Erwagen," and in several instrumental works. Since With this work our chromatic scale widens from g' to g".15
the musicological Literature up to now has offered hardly any An examination of the overture in F major (1034/10) leads
investigations concerning this instrument,3 it appears justified to the same result. The chalumeau part that is written in pitch
to help clarify the use of this instrument, particularly in view notation moves within the ascertained boundary tones f and
of the forthcoming edition of the works of Telemann. Tele- b"-flat. The second chalumeau remains in the sound area F
mann's concertos in D minor'3 and C major (Mus. 1033/38; to b-flat. The second chalumeau remains in the sound area
Mus. 1033/50) are of special interest in this context. Also the F to b-flat. Let us summarize: Telemann employs in all of
sonata in F major (Mus. 1042/14) and the overture in F major these scores chalumeaux, which correspond to the types as
(Mus. 1034/10)M which are preserved in copies in the state Majer explained them in his Museum musicum, i.e., instruments
and university library of Darmstadt. In these scores the chalu¬ with two keys, that covered both the highest tone holes. Tele¬
meaux are continually employed in pairs, each time a soprano mann accordingly does without the overblown register, per¬
chalumeau will be used with either a tenor or a bass. haps because the sound did not please him. Majer's reference
These observations indeed offer no ultimate validity for to the c'" at least proves that the instrument was able to be
the investigation of the playing possibilities and the playing overblown, evidently however only the lowest tone of the
boundaries of this instrument, they only add support for some overblown register was employed. That Telemann did not by
conclusions. Moreover, it is important to ascertain the note chance avoid the overblown register, but rather intentionally
possibilities that can actually be played by the performer. avoided it, is proved by a passage in his F major overture
Only the key notation permits us a clear picture of the range. (1034/10). Here a tone sequence which logically should be
This principle is illustrated with the aid of the scores of Tele¬ continued upward is broken and the succession shifted to the
mann. In the F major sonata (1042/14) both chalumeaux are lower octave, doubtless in order to avoid the c'".
notated in the sounding pitch as a comparison with the other
instrumental parts proves. For the first chalumeau the soprano Overture in F major (1034/10)
clef is used and c' and f" are the limit tones. This instrument
is therefore clearly a fourth lower, as Majer stated in his - r f t "f 'f——
Museum musicum. We are able to make this observation con¬
cerning the concerto in C major (1033/38). Also since the first
chalumeau is written here in the same key as the violins and
the basso continue, it is therefore a matter of sounding nota¬ The boundary tones and the pitches of a wind instrument
tion. The range corresponds with the boundary tones of the can offer us evidence which instrumental types were drawn
F major sonata, c' to f". Now an instrumental part to this con¬ to the performance of the scores in question. In addition, the
certo is fortunately preserved and this shows that the part for playing figures give us an approximate indication for the
the first chalumeau is not in C major as in the score, but was technical operating ability of the players and the intonational
notated in F major. The part is therefore written transposed, breadth of variation of the instruments. Generally, it may be
and indeed, as a comparison with the score proves, transposed said that Telemann assigns to the chalumeaux passages which
a fourth lower. The impression, which both scores give, that are really agile in the allegro movements, with runs and chor-
in both cases it is a matter of a non-transposing instrument dal playing in sixteenth-note movement. Majer's observation
that the chalumeau is, due to its "clumsy mouthpiece very Soprano and Alto Chalumeaux in the Music History Museum,
hard to blow," surprises, in view of these virtuoso demands. Stockholm
It is particularly conspicuous that Telemann writes for both
chalumeaux over long sections and does not hesitate to add
to these solo segments a few rather pronounced chromatic
tone sequences. Had the intonation of the instruments really
been so unsatisfactory as the contemporary reports want us
to believe, then one would have easily been able to do without
passages that were so difficult. If Telemann avoids on the one
hand in such a conspicuous manner the overblown register 'illustration one
because of its unsatisfactory sound, then we must assume on
the other hand that the chromatic melody steps which he
prescribes in his scores were performed satisfactorily by the
performers. That the players in this case must have adjusted
their embouchures to correct faulty pitches can be concluded
from the extended use of chromaticism in the slow movements.
C
(1042/14) Allegro illustration two
(1033/50) Allegro
hole, which was bored twice, was placed on the right side. For
this reason, this instrument may belong to a later time. It has,
besides both keys for a' and b'^flat, five extra keys.10 The
(1033/50) Largo two lowest keys extend the range downwards since they are
open keys. Two of the closed keys served apparently to pro¬
duce the tones g'-sharp and g"-sharp. Both long-stemmed
keys of this instrument are a positive support that this instru¬
Solo ment was overblown, and therefore already able .to be used
for a considerable range. None of these instruments are dated.
If we consider the keyless chalumeau that Diderot-d'Alembert
In view of the employment of the chalumeau, which is
still represented in 1753, then these instruments show that we
really pretentious and frequent, in the scores of the early
are faced with no uniform instrumental development with the
eighteenth century, it surprises that this instrument apparently
chalumeau. We must expect that a considerable number of
disappeared without any trace from the contemporary instru¬
different types and special forms of this instrument existed.
mental stock. None of the European instrumental collections
When Telemann in the foreword to his "Harmonischen
were able to show an example, so that in 1938, Adam Carse
Gottesdienst" of 1725 named the "middle chalumeau" among
described the instrument as a "will-o'-the-wisp" among the
the instruments which were able to replace an absent singer,
wind instruments.16 The author even formulated in 1954, in
then this mention of the chalumeau affirms that Telemann
the composition of his article "Clarinet" in Musik in Geschichte
und Gegenwart, that no original instruments are extant. In the assumed the existence of the chalumeau in as many places as
this music was distributed.20 Hans Engel's conjecture, in his
meantime, a collection of these instruments, which comes from
book Das Instrumentalkonzert (The Instrumental Concerto,
the possession of the University of Lund, was identified in the
1932), that Telemann's chalumeau concertos were in actuality
Music Historical Museum in Stockholm.17 All the instruments
the earliest clarinet concertos, cannot be confirmed from the
exhibit a conspicuous maker's mark placed on the bore, as
it was employed on the clarinet which came in use at the same standpoint of the organologist.21 Telemann's chalumeau con¬
time. The bore of these chalumeaux all end in a foot or rudi¬ certos are not clarinet concertos; they are actually authentic
mentary bell, except for one instrument which has no bell. chalumeau concertos. The almost identical sound quality of
Here the flute douce [recorder] should not be overlooked as the chalumeau and clarinet justifies the performance of the
a calculated model. In making these instruments the lowest chalumeau parts on the clarinet, providing that none of the
(first) tone hole is drilled twice, so that the tone f-sharp results existing reconstructed chalumeaux are available.22
through covering half the hole.18 The foot is movable and
makes any position of the hands possible through a lateral
'Heinz Becker, "Das Chalumeau bei Telemann," Konfercnz-
turn (see illustration one). The brand marks carry the names Iwriiht tier ?. Mitgdeburger Telemann-Festtaê vom 12, bis 2b. juni I9b7.
of Liebav and KJenig, who are known as instrumental makers 2d part, editing by Giinter Fleischhauer and Walter Siegmund-
at this time. However, we do not know more about their work¬ Schultze (Magdeburg: Deutsche Kulturband, 1969): 68-76.
ing places. The most conspicuous instrument of this group "Heinz Becker, "Das Chalumeau im 18. Jahrhundert," Spe¬
is a chalumeau with the firm name MULLER [sic] (see illustra¬ culum Muziitie Arli>. Festgabe fur Heinrich Huttnann iuw bO. Geburt-
tion two). It differs clearly from the other chalumeaux. The <tiiy (Munchen: Wilhelm Fink, 1970): 23-46.
body of this instrument ends smoothly, without a foot or "Johonn Mattheson, GrundLigr eiiwr Ehren-Pforte (Hamburg,
rudimentary bell, as in the other chalumeaux. The right hand 1740, reprint ed., ed. by Max Schneider, Kassel: Barenreiter, 1969),
is fixed for the lower half of the tube since the lowest tone 357.
4
Johann Mattheson, Das Neu-Eroffnete Orchetlre (Hamburg: Musica Rara (no. 1633 a/b) for two clarinets, strings and keyboard
Benjamin Schillers Wittwe, 1713), 272: "The so-called chalu- edited by Hermann Dechant. The score and keyboard part in¬
meaux may be allowed to voice their somewhat howling sym¬ cludes the chalumeau parts notated in their original clefs. Two
phony of an evening, perhaps in June or July and from a distance, excellent recordings of this work have appeared: Dieter Klocker,
but never in January at a serenade on the water", Oskar Kroll, Andreas Bonifert (clarinets) with the Heidelberg Chamber Orches¬
The Clarinet (New York: Taplinger, 1968), 15. Becker explains in tra on Da Camera 91015 or Musical Heritage Society 1512; and
his MCG (1958) article (translated by Dyke Kiel, The Clarinet 2, Hans Rudolf Stalder, Heinz Hofer (soprano and alto chalumeaux)
no. 3 (May, 1975): 6) that Mattheson is probably indicating the with the Glarner Musikkollegium directed by Rudolf Aschmann
mixed use of transposing and different sizes of chalumeaux. on Rimaphon 30-036.
5 ,4
A list of musical works using the chalumeau appears in my A recent edition of this work for soprano and alto recorders
thesis "Valentin Roeser's Essay on the clarinet (1764) Background or two alto recorders and continue is published by Moeck Verlag
and Commentary" (Claremont Graduate School, 1977), 138-152. (no. 425/526) of Celle, West Germany (1974) edited by Use
It contains no less than 83 works by 28 composers, and recently Hechler.
Hans Stalder has supplied me with four more composers and John Henry van der Meer formulated the following ranges
seven works to this impressive list. for the chalumeaux consort in "The Chalumeau Problem," Galpin
"Etnyilopedie, ou Dictionnaire raisoime i/es sin'iurs, i/cs aii> et de> Society lournal 15 (March 1962): 90; discant: f to b"-flat, b" or c'";
metiers par tin societe de gens de left re* (Paris: Briasson, David, Le alt or quart: c to f"; tenor: f to b"-flat (written an octave lower);
Breton, 1753), vol. 3, 40: "The chalumeau has a savage and dis¬ bass: c to f (written an octave lower). However, it is quite likely
agreeable sound; that is, it is usually played by an ordinary that chalumeaux were also built in other sizes in order to be able
musician because there is no instrument that is not able to please to be played in sharp keys, as consorts of shawms were built in
under the fingers of a superior man...". There is one earlier the seventeenth century, e.g., tenor in C, alto in G, soprano in D
reference to the chalumeau which probably also refers to the and Kleindiscant in A. See David Munrow, fris/rHmruts of the Middle
"unimproved" keyless type of instrument described in the Etuy- Ages and Renaissance (Oxford: O.U.P., 1976), 41.
clopedie. Johann Walter states in his Praecepla dcr ini<>iiali*clie>i Com¬ Adam Carse, Musical Wind Insirutnents (London: Macmillan
position (1708, ed. by Peter Benary, Leipzig: Breitkopf & Hartel, and Co., 1939, reprint New York: Da Capo, 1965), 150.
1955), 43: Chalemau is a short wind instrument giving a sound
similar to when a person sings through his teeth." ' Originally this museum owned soprano chalumeaux by
7 Miiller and Liebav and three altos, one by Liebav and two by
Becker excludes the first and second books for the Mock Klenig. The alto chalumeau by Liebav is now missing. See, Cary
Trumpet (a keyless-chalumeau) from his category of "art music." Karp, Baroque Woodwind in the Musikhistoriska Museet,
These books appeared in 1698 and 1699 and are discussed by Stockholm," Galpin Society journal 25 (June 1972): 82. For discus¬
Thurston Dart, "The Mock Trumpet," Galpin Society Journal t> sions concerning two Denner chalumeaux that are extant in the
(July 1953): 35-40 and Colin Lawson, "The Early Chalumeau Bavarian National Museum see Kurt Birsak, "Das Dreiklappen-
Duets," Galpin Society Journal 27 (April 1974): 125-129. Chalumeau im Bayerischen Nationalcnuseum in Munchen,"*Dii'
Musikforschung 26, no. 4 (October-December 1973): 493-7; "Die
'"'The names of two chalumeau players who also played the Stimmung des Klappenchalumeau von l.C. Denner Ein Nachtrag,"
oboe are found in Ludwig von Kochel, Johann Joseph Fux (Wien, Die Musikforschung 28, no. 1 (January-March 1975): 82; and Jiirgen
1872), 384, 389; according to Becker in "Das Chalumeau im 18. Eppelsheim, "Das Denner-Chalumeau des Bayerischen National-
Jahrhundert," 34. Joseph Lorber is cited as being active on August museums, Die Musikforschung 26, no. 4 (October-December
3, 1718 and Andre Wittmann on April 21, 1721. Jacques Burdet 1973): 498-500.
mentions the chalumeau player Louis Augier who played at a
wine festival in Vevey on August 8, 1750, in La musiijue dans le ''My own Moeck tenor chalumeaure is made with four
pays de vaud sous le regime hernois 1151 79SI (Lausanne: Payot, double holes presumably because the chromatic pitches are more
1963), 508. easily played in this manner. These holes produce the following
pitches: c-sharp, d-sharp, f-sharp, and g-sharp.
J.F.B.C. Majer, Museum musicuni (1732), facsimile ed., ed. by
Heinz Becker (Kassel and Basel: Barenreiter, 1954), 32. Compare At this point an error appeared in this article when Becker
the translation given by Angela Maria Owen in "The Chalumeau mentioned that this instrument has only four extra keys. This has
and its Music," American Recorder 5, no. 1 (1967): 7. been changed to five since the Miiller instrument is listed as hav¬
11
ing a total of seven keys in Becker's "Das Chalumeau im 18.
Encyclopedie. Recueil des Planches (Paris: Briasson, David, Jahrhundert," 37-9. The five extra keys can also be seen in illus¬
Le Breton, 1767), vol. 5, plate 8, s.v. "Lutherie, suite des Instru¬ tration one.
ments a vent." 20
See, Georg Philipp Telemann, Musikalische Wcrkc. Vol. 2
Cary Karp maintains that the chalumeaux in the Music (1953), "Der Harmonische Gottendienst," (1725/26), ed. by
History Museum in Stockholm can be played in both their over¬ Gustav Fock, VI.
blown and their fundamental registers but require a different reed "'Hans Engel, Das Instrumentalkonzert (Leipzig: Breitkopf &
for each register, "Chalumeaux," Galpin Society ]ournal (1978, Hartel, 1932). 89.
forthcoming).
"Among the makers that offer reconstructed chalumeaux
Compare Heinz Becker, "Zur Geschichte der Klarinette im are: Jonathan Bosworth (29 Main St., Acton, Mass. 01720); Hopf
18. Jahrhundert," Di Musikforschung 8 (1955): 277, English trans, (Bath Music Centre Ltd., 4&5 Green St., Bath, Avon., England);
by Don Halloran (August 1971, typewritten). Moeck Verlag (D 3100 Celle, Postfach 143, West Germany); and
O. Kroll, Das Chalumeau," Zeitschrift liir Musikwissenschalt Trevor Robinson (65 Pine St., Amherst, Mass. 01002).
(1932/33): 374-8, still did not know Telemann's Darmstadt manu¬
scripts. Edgar Hunt, "Some Light on the Chalumeau," Galpin
Society lournal 14 (1961): 4 1-4 examines onlv two works of
Graupner.
'"'An edition of this fine work was published in 1973 by
JOHN DENMAN at The Wigmore
Hall, London. 2 July 1978
by Victor SI ay mark The fullness of time however has given Denman's playing
a maturity and depth of feeling which never descends to
My dilemma when asked to write a review of a recital by sentimentality and which at The Wigmore Hall, was most
John Denman is that we have been colleagues and close satisfying.
friends for many years, which makes it difficult to write an
objective critique and to sound other than totally eulogistic.
The interest which his recital of the Wigmore Hall, London, Keith Puddy in Recital and Workshop
on 2 July 1978, aroused in me was one of comparison between
his performance of the English programme that he played and at Brandon University
his version of the same works on record, English Wind Music
Vol. One, Revolution Records RCF 009 dating from 1971.
The sonatas that he chose were by Bax, Ireland and Stan¬
ford and as well as these, he played The Five Bagatelles by
Gerald Finzi and the Sonata Capriccioso by Eric Hughes, a
programme, the more interesting for the closeness with which
all the composers stand to each other. The sonatas are close
to my heart and 1 find them to be unjustly neglected by
clarinet players in preference to the handfull of works that
form the basis of the majority of recitals. I must allow that
there are probably works from almost every country which
could fall into the same category and would welcome their
advocacy by like minded players.
Denman's 1971 disc was a poorly recorded affair by any
standards lacking any presence and impervious to any amount
of knob twiddling. It did no justice to his broad rich sound
and so the slightly resonant acoustic of the elegant Wigmore
Hall, a more delightful concert hall would be hard to find,
gave Denman the room to make his tone tell to full effect and
gave the audience a chance to hear the subtle nuances of his
performance which poor quality recording fails to convey.
As one would hope his interpretation has matured, tempos
markedly slower in most instances, except in the second
movement of the Bax, which was faster than I have ever heard
it played and although it was rhythmic and fairly well under
control, was not really sensible and necessitated excessive by James Manishen
tempo changes later in the movement. This may have been
intentional but was certainly not to my taste and is better on On October 11th, the eminent British clarinettist Keith
the recording. However, The Ireland was superb, wonderful Puddy gave a performance of the Beethoven Trio Op. 11 and
dynamics and lyrical playing, full of ebbs and flows of tempo the Messiaen "Quartet for the End of Time." He was assisted
that perfectly suited the rhapsodic character of the music. by The Music Group of London whose members are Ralph
Despite my desire not to go overboard in praise of a friend, Holmes, violin; Eileen Croxford, cello; and David Parkhouse,
in the Ireland I was not conscious of a technique at work, but piano. Mr. Puddy, who was a student of both Reginald Kell
of a mature musician at the peak of his powers, giving a and Jack Brymer, began his professional career as Principal
thought-out interpretation of great insight. The Stanford Clarinet with the Halle Orchestra under the late Sir John
seemed slightly pale by comparison with the Bax and Ireland, Barbirolli, and at present devotes most of his time to chamber
the interpretation being much the same as for the record. The music, solo work and teaching. He is an Honorary Fellow and
Finzi pieces, as always, came up fresh and Denman was professor at the Trinity College of Music in London and an
obviously enjoying himself with them. The Eric Hughes which associate member of the Royal Academy of Music. His record¬
I believe was written for Denman, a very welcome addition ings of the Mozart Concerto (Classics for Pleasure 40046);
to the repertoire, was much more interesting than on the Mozart Quintet (Classics for Pleasure 121); and Brahms Quin¬
recording, about the same tempos but more flexible and with tet (Monitor S 2142) have been widely acclaimed.
wider dynamic levels. I remember The Music Group of London's superbly
At the end of the recital Denman was joined by Beth polished accounts of the Beethoven "Archduke" Trio and the
Fogel, an American clarinetist, for a light-hearted romp Brahms Horn Trio (with Alan Civil, hom) when they per¬
through Kreisler's "Schon Rosmarin" which sent the audience formed for Western Manitoba audiences several years ago.
away smiling. John Denman is very fortunate in his choice This recent performance was certainly of that level, with
of accompanists, the excellent Hazel Vivianne on the record masterly playing from Mr. Puddy.
and at the Wigmore Hall, Paula Fan, who matched his ideas The following day five of my students primed Mr. Puddy
and varieties of mood with great sensitivity. Her accompani¬ with questions after his most helpful comments on their per¬
ment of the Bax was quite marvellous. formances of the Schumann Romances Op.94, Stravinsky
On balance then, the playing on the record is technically Pieces and Sutermeister Capriccio at a workshop for them. His
accomplished but somewhat unyielding, tense and unrelaxed. engaging presence and superb artistry were enjoyed by all.
Record Review
quite successfully surmounted the crippling handicap of not
by Henry Lazarus being British. One must indeed applaud their courage and
Here is the first of a new series of exclusive articles by, tenacity in the face of a misfortune of birth which causes
and interviews with, great wind players of the past, made most foreigners to give up all efforts to improve themselves
possible by the co-operation of the noted Twickenham med¬ and resort to gesticulation and incomprehensible babbling.
ium, Madame Vandorcrampon. This month's guest record The Bohemian Kalliwoda has composed several most
reviewer is none other than Henry Lazarus (1815-1895) who, creditable pieces for the clarionet, of which this Morceau de
I'm sure you will agree, is by far the most qualified of all Salon is perhaps the most attractive. The Italian Lovreglio,
clarinettists to review this newly released album. although labouring under the additional burden of being a
Paul Harvey flautist, has written much for the quite competent clarionet
(Editor i/c seances and spirit liaison) players of his country; Signori Carulli, Gambaro, Cavallini
and the rest. If only the Lira had a more advantageous rate of
The Victorian Clarinettist ABM 29 exchange against the Sovereign, it might be within the means
Colin Bradbury (clarinet) and Oliver Davies (piano). Dis¬ of some of these Italian fellows to become really advanced
courses (All About Music) Ltd., Royal Tunbridge Wells, Kent, players by studying with me in England. Herr Oberthur has
England. (U.S. agent: Theodore Front, 155 N. San Vicente taken such a step by settling in England, and is enjoying the
Blvd., Beverly Hills, CA 90211.) success invariably accorded by the British public to foreign
Side 1: Henry Lazarus (1815-1895), "Fantasia on Airs from musicians. Indeed, in my all too frequent moments of self-
Bellini's 'I Puritani' ". denigration, I often wonder if my fame would have been as
Charles Villiers Stanford, (1852-1924), Three Inter¬ great had my patronymic been Smith or Brown!
mezzi, Op. 13. 1 most earnestly recommend that you purchase this
James Waterson (1834-1893), Morceau de Concert. phonograph recording, which should cause you to make
every effort to hear Mr. Bradbury in person. I am given to
Side 2: ]. W. Kalliwoda (1800-1866), Morceau de Salon, Op. understand that he is the incumbent of the principal clarionet
229. position in an ensemble with which I am unfamiliar; the
Donato Lovreglio (1841-1907), Fantasia on Verdi's B.B.C. Symphony Orchestra. As more detailed information
'La Traviata'. has not been provided by Mr. Harvey, 1 merely hazard a
Charles Oberthur (1819-1895), Le Desir. guess that these crypyic initials may stand for Blackpool
I am moved to commence this dissertation by congratu¬ Borough Council Symphony Orchestra; presumably one of
lating Mr. Bradbury upon his excellent taste in starting his the worthy little orchestras which enrich the musical life of
recital with my own Fantasia; by far the most significant work our many delightful watering places. If this is the case, I am
in his repertoire; a subtle blend of brilliantly effective virtuoso sure that an artiste of Mr. Bradbury's impressive virtuosity
writing and profound musical thoughts. 1 admire his courage will soon eschew the fatiguing train and hansom cab journey
in thus exposing his playing to comparison with my own, between Blackpool and Kensington, and obtain an appoint¬
and, though he could not hope to surpass me, 1 am bound ment at the Queen's Hall, or some equally prestigious London
to admit that he comes closer than any other aspiring com¬ concert rooms, where his fine playing will reach a wider and
petitor to equalling my artistry. This may be accounted for more enlightened public.
by the fact that Mr. Bradbury was apparently a student of
Thurston, who himself studied with one of my own most
promising proteges, young Charlie Draper. Sir Arthur Sulli¬ Record Review
van is indeed fortunate to have secured the services of so by John Mohler
distinguished an artiste as Mr. Bradbury as Professor of
Clarionet at the Royal College of Music. The Chamber Music Artistry of David Weber. Spohr, Six
Although the rest of the programme is inevitably some¬ German Songs for Soprano, Clarinet, and Piano; Poulenc,
thing of an anticlimax after my Fantasia, it is nevertheless Sonata for Clarinet and Bassoon; Prokofieff, Overture on Hebrew
worthy of comment as a representative selection of the efforts Themes for Clarinet, Piano, and String Quartet. Grenadilla
of five of my more distinguished admirers. Charles Stanford Society Recordings, Box 279, New York, N.Y. 10010, GS 1004,
is a young composition colleague of mine at the RCM, and $8.95.
wrote these Intermezzi in his earlier days at Cambridge. He The choice of placing the Spohr Six German Songs on Side
often seeks my advice ypon writing for the clarionet, and is 1 was a wise one. The recording is by far the best of the three
contemplating a Concerto for the instrument. Recently he has selections on the disc from the standpoints of balance, tone
become much influenced by a young German composer, Herr quality, and minimal surface noise from the original record¬
ing. While the clarinet is at times rather too prominent in the
Brahms, who, I understand, has attempted some small pieces
for the clarionet. However, 1 have advised Stanford to look to first three songs, the balance in the Cradle Song is just as it
works of substance, such as my Fantasia, for his inspiration. should be. Clarinet phrasing is particularly beautiful here, as
James Waterson had the good fortune to study under me well as in the concluding songs of the set.
at Kneller Hall, and through my bringing his diligence to the The Prokofieff Overture begins Side 2. In 1946 the original
notice of the Duke of Cambridge (1 frequently take tea with recording received Time Magazine's Annual Recorded Music
H.R.H., you know) he secured an appointment as Bandmaster Award as the year's best chamber music single. And for good
to the Viceroy of India. His clarionet writing retains all the reason. The balance and clarity of lines is remarkable; the
distinguished hallmarks of his early training. clarinet is not at all obtrusive, especially in the high register.
The other side represents three composers who have The Poulenc Sonata for clarinet and bassoon (Leonard
Sharrow), a brilliant but rather severe composition, is played
Cotlf. I'' The Clarinet — Spring l4?7c> 21
K
OhioUniveiSny^
SCHOOL ofcTW USIC
(Stwtmt frt»- fe euw

<.•**» o«
» ►

lie drive. Intonation is excellent; atmosphere was formal with all contestants wearing suits and
even sounds throughout their ties. Each performer was greeted by the jury: "Bonjour
tg was apparently made under Monsieur." The contestant bowed and replied "Bonjour,
i detracts from its effectiveness. messieurs."
1 Weber's performance at its
Contestant number 5 was obviously nervous and jumped
nd somewhat reminiscent to out of his skin when the jury greeted him. He replied "Pardon,
to control is admirable. The Pardon? (what did you say?) which generated laughter.
- .o superior to others I have heard All of the students played from memory and were well
-..auilla Society. prepared. The students work hard and there is a lot of com¬
petition. Most played Selmer clarinets, Vandoren mouthpieces
I Love Paris in the Springtime (2RV and B45) and Vandoren reeds. I was impressed by good
technique, rhythm, clean articulation and the pride they took
by Sandra Powell, Clarindist-Voices of Change in their musicianship. Sounds were well centered and refined,
some larger than others. The only general problem seemed to
This familiar song title has intrigued me for many years. be sharp pitch in the 3rd and 5th partial registers.
It all started at Belleville Township High School in Illinois. Four First and four Second Prizes were awarded that day.
Belleville (beautiful city) was named after a town in South¬ One of the First Prize winners had the added honor of "Pre¬
eastern France. I experienced beginning French class there miere Nomme which means best performer of the day. I
with Mademoiselle Skaar! She was dramatic and I became loved the Variations et Hommage by Margoni. It is available
hopelessly hooked on the sound of the language. through Editions Franqaises de Musique-Cerda, 1 rue Danton
My third year of clarinet playing found me experiencing Paris 75006.
Paris Conservatory literature with Arabesques by Jeanjean. Variation 1 is a haunting melody with a high pianissimo
By the time I was a senior I finally got a Leblanc Symphonic tessitura which requires great control. Variation 2 is a techni¬
model clarinet from Paris for $75.00. (My father has it smug¬ cal cadenza beginning at a piano dynamic and building to an
gled to Belleville by the Monsanto Chemical company.) exciting, flashy fortissimo. Variation 3 is a rhythmic 4/4, 3/4,
I went off to study music at the University of Michigan. 5/8 with humourous teamwork for clarinet and piano. The
There was more Conservatory literature, a chance to minor in last variation is a mysterious one with broken chord color
French and to hear William D. Revelli praise the industry of exchanges between the instruments. This variation ends with
students of that school; something to the effect that "the a rubato clarinet cadenza which leads- into the final "hom-
sweetest sounds in the World come from that rundown old mage," a beautiful flowing melody in traditional tonality
building." (E flat). It is the only tribute in the composition to such tonality.
All of these French threads were tied together 16 years The next day I shared lunch with Nicole Philiba, a charm¬
later on May 23, 1978 when I left the Dallas-Fort Worth airport ing woman of Turkish background and extraction. She took
for a month in Paris. The first few days were a fog of jet lag, me to meet Ulysse Delecluse at his Master Class. The French
of trying to speak only French, of falling asleep during break¬ always have time to talk and enjoy a two-hour lunch or what¬
fast. On the third day I got up my courage to tackle my first ever, so Delecluse and Philiba chatted on and on about this
telephone call. It was to Nicole Philiba, a composer and teacher and that for quite awhile in the middle of the class. Delecluse
at the Conservatory. I played her Concerto Da Camera at the accepts only twelve students and this class was for the four
'77 Clarinet Clinic and was anxious to meet her. The telephone who did not enter the First Prize contest of yesterday.
emitted deafening roars and buzzes. Nicole spoke French as To be accepted into the Paris Music Conservatory is every
in the style of a machine gun. I did piece together that the First serious^ music student's dream. They progress through the
Prize Clarinet Competition would be held at 14 hours Mav Nation's conservatory system where every major city in France
y
29th. ' has a music school. For $10.00 per year (no error, $10.00) a
So I ventured forth on the Metro to I'Europe station and person can study the instrument of their choice plus solfege.
began the search for my childhood Xanadu, Conservatoire Emphasis on solfege (their use of the fixed "do" is so different
National Superieur de Musique. After getting lost I asked a from training in the U.S., and I envy it.)
waiter at a sidewalk cafe directions in my best French and he These four students (the youngest 14) were preparing for
said "Yes, English, go one block, turn right." At last 1 stood their exam and all played from memory. Once again I found
before the Conservatory. them well prepared. The students play often for one another
The main entry hall was jammed with people waiting to in classes, plus they have private lessons. Monsieur Delecluse
buy their 10 franc entry ticket to the Salle Berlioz, a small is the grand master teacher, sitting at his desk, tapping his
concert hall. In the balcony sat the 7 member jury made up of pencil in rhythm, and solfeging every sound while the student
conservatory faculty. A bell was rung when the competition plays. Incredible sounds, like Ella Fitzgerald going berserk
was ready to begin. This year there were 8 contestants, all scat sounds! He is a charming man, formal vet friendly with
male, chosen by Professor Ulysse Delecluse from his class his students. We had an interesting conversation after the
They ranged in age from 16 to 23. A performer may try for class. My French was really cooking and we discussed his
a 1st prize three times. They must also pass barriers in solfege teaching, my teaching, the International Clarinet Clinic, etc.
theory and music history. Each student was required to play Our conversation ended with Ce n'est pas feminine de jouer
2 works, the Premiere Rhapsoihe by Debussy and this year's la clarinette. (It isn t feminine to plav the clarinet!) Pow!
new commission. Variations et Hommage by Alain Margoni. Crash, Bang!
The first contestant walked onto a stage where Delecluse The French musicians that I met voiced the same opinion.
and an accompanist were already seated at the piano. The I saw no female wind players in L'Orchestre National de Radio
24 The Clarinet — Spring 1970 Conl. on p. 4 1
Why switch to Evette?
Ask clarinetists why they make music. Their answers, though Buffet's so that students can get the feel of a professional
perhaps difficult to express in words, always have something to instrument from the start. With Evette. they have the
do with the pleasure they derive from producing beautiful, resistance, the intonation accuracy and most importantly the
satisfying sounds. In fact, more than 90% of the world's tone qualities which will prepare them for the Buffet clarinet
professional clarinetists choose Buffet Crampon because of they dream of one day playing.
those unique sound qualities found only in the Buffet clarinet.
Avoid starting them off on a student instrument they will only
Student clarinetists, like more advanced players, want the have to "unlearn"' once they advance to the Buffet level. Start
same satisfying, full, rich sound. You owe on an EVETTE. They'll develop good
it to them (and to yourself) to start them (0) playing habits faster, and work harder
out on a clarinet designed by the Buffet / — \ because they'll be experiencing the Buffet¬
people. The EVETTE. hand-crafted uia/mjion ÊVETTE j like richness of sound that they — and you
according to the rigorous Buffet standards, Paris — are looking for.
starts the beginner off in the right direction.
The Evette s keys are positioned like the f'/VCJ BUFFET CRAMPON After all. quality sound speaks for itself.
unm i .v en 5.S Marcus Drtw. Melville N V 11746
f T-W:-! ■■■ - ■ l'«
The British Woodwind Workshop
by Harry R. Gee attend some of the workshop's activities. Remember, it is

always during the third week in August. If you write ahead
About 140 woodwind enthusiasts attended the Woodwind to Mrs. Jane Gradwell, 40 Shakespeare Road, Hanwell, Lon¬
Workshop at St. Mary's College in Twickenham, England last don W7 1LR, you can probably get room and board for a very
August 21 to 25. An interesting feature of this annual occasion reasonable price.
is the international atmosphere with Americans, English,
Germans, visiting teachers and other guests. In addition to
students of high school and college age, many teachers from
British schools and skilled amateurs return from previous
years to play woodwind chamber music and attend lectures.
The week, packed with activity, schedules master classes in
the mornings, large and small woodwind ensembles in the
afternoon and concerts by guest artists in the evenings. The
exchange of ideas and the enthusiasm radiating all day, includ¬
ing meal times, tea time and in the bar, was a veritable wood¬
wind binge!
There were also several lectures during the master classes
on single reed adjustment and woodwind literature by this
writer and double reed sessions by Albert Glotin. The latter
flew over from Paris in his private plane to spend a couple
days with us. Owner of the Deru Reed and Chedeville Mouth¬
piece factories, he has a large company employing over 300 Ted Pianos, eminent craftsman of the clarinet makes a tew points
people. In addition to making single and double reeds, he about the accoustics of the contralto clarinet to a young English
music teacher with Harry Gee, Visiting Clarinet Professor.
manufactures fine reed tools and pads for both the Selmer
and Buffet factories. Lectures were given on woodwind accous-
tics by Ted Planas, professional clarinetist and woodwind
building consultant in London. Several other distinguished
visitors were Vojtech Ivanek, Professor of Clarinet at Cologne
Conservatory, who also brought 10 of his students; John
Annable, Band Director from Melbourne, Australia; Jerry
Pierce, from Anderson College, Indiana and writer of "The
Bonade Legacy;" Pamela Weston, noted author of several
books on clarinet and Georgina Dobree, artist-lecturer also
from London. The Music Shop had a nice display of Miss
Dobree's recordings of works played on the Bb and Eb clari¬
nets as well as the basset horn. On sale also were many other
new items for woodwind including some of the latest inter¬
national clarinet publications.
The Woodwind Workshop welcomes professional wood¬
wind players who are visiting Europe, so if you get tired of One of the many returning clarinet enthusiasts discusses some points
spending a lot of money in London, come out for a couple about his German basset horn with Georgina Dobree, lecturer and
days to visit Historic Strawberry Hill in Twickenham and basset hornist of London. The Workshop boasted three of these
instruments among the 140 students.
Among several visitors at the British Woodwind Workshop August

21-25 were Jerry Pierce (Anderson College, Inc.), Pamela Weston Harr\ Gt-c directed tht Clarinet Choir in the afternoon sessions and
(author of books on clarinet), Georgina Dobre'e (English concert and gave master classes in clarinet each morning. In addition to English
recording artist) and Harry Gee (Indiana State University). music teachers and students, the clarinet enrollment included 6
German students and a visiting band director from Australia.
26 The Clarinet — Spring I0?1-!
Finally, the Clarinet and Saxophone
Ligature has reached the ultimate
in its evolution.
Now it is no longer necessary to use a ligature which imitates string.
The GIOKAS STRING LIGATURE

has all the advantages in playing
quality of the original string with
the convenience of the "modern"
screw type ligature.
It is a fallacy to suggest that a reed
does or should vibrate along its entire
length. The tip of the reed is the only
portion which vibrates. Vibration in the
heel of the reed must be eliminated in
order to maintain a perfect seal between
the mouthpiece and reed, thus allowing
for maximum vibration at the tip of the
reed. Noise transferred from the tip to
the heel of the reed will adversely affect
tone. Individual strings are the perfect
agent to dampen the vibrations and noises
in the heel of the reed. As a result, the
GIOKAS STRING LIGATURE makes
possible unequalled sound quality and
maximum response.
* Easier tonguing
* Superior response
* Dark, full bodied tone
* Clear, centered sound
* Even tone quality throughout all
registers
* Pulls entire heel of reed against
mouthpiece table
* Conforms perfectly to reed contour
* Will not damage reed
Compare the GIOKAS STRING LIGA¬
TURE'S playing quality with any other
ligature in a soft, high, staccato passage —
the ultimate test of any ligature — and
you will be convinced of its superior
playing qualities.
Ligature and Cap for all Clarinets and
Saxophones $11.50. Add $ .50 for postage
and handling. Texas residents add 5% sales
tax. Send check or money order to:
Dennis G. Giokas
P.O. Box 361
Denton, Texas 76201
From the Editor's Desk
After only a few months on the job as Editor, I am now congratulatory letter about The Clarinet, send it to Betty
beginning to fully appreciate the task that faced my predeces¬ Brockett. I am especially pleased about the affiliation of Himie
sor, Lee Gibson, Betty Brockett, James Schoepflin, and all the Voxman and Keith Stein as Editorial Associates. In addition
others that have brought The Clarinet to its present state since to contributing articles from time to time, they will serve in
its first publication five years ago as the official journal of the an advisory capacity on all matters relating to the content of
International Clarinet Society. For those readers who may not the journal as well as reviewing articles submitted for publi¬
have been with us since the beginning, it may be worth men¬ cation. Lee Gibson will also continue to serve in an advisory
tioning that none of us on the staff had had any experience capacity, and John Mohler will be our new Editor of Reviews.
in putting a publication such as this together. And, while the Given the cooperation, interest, and assistance of the
first few issues may have revealed this lack of expertise, the respective clarinet sections I have contacted, we hope to con¬
progress and development that have taken place during these tinue our series spotlighting orchestral clarinet sections.
formative years have been significant and striking. Hopefully too, articles will continue to represent a wide range
Since a subscription to The Clarinet is one of the most of subjects: literature, pedagogy, performance, acoustics and
tangible benefits of membership in the International Clarinet design, news of members' activities, research, performances,
Society, we on the staff of the journal do not take our respon¬ premieres, etc. And an important part of each issue will con¬
sibility lightly. Our aim is to provide a truly significant publi¬ tinue to be reviews of new music and recordings. Your recital
cation that will include material of interest to a wide spectrum programs are needed for printing on our recital page, but
of players, students, and teachers. However, it should be preference will be given to those that will reproduce well in
made very clear that this is the journal of the International the magazine. Those printed on ditto and mimeograph often
Clarinet Society, not of a few staff members and regular con¬ do not show up well when reproduced.
tributors. It will be only as good as the material that is sub¬ As for any material you plan to submit, please send
mitted. In other words, it is your journal. If you tire of seeing duplicate, typed copies that have been carefully proofread
the same writers, same reviewers, same recital programs, etc., along with a short biographical sketch on the author.
send us your ideas, your programs, news of your activities. I feel that one of the most important responsibilities that
Since my primary responsibility is to solicit, plead for, beg, the journal can fulfill is to serve as a vehicle through which
cajole, and coerce contributions from you, consider yourself the present generation of artist teachers and performers can
having just been solicited, pleaded after, begged, cajoled, and expound their philosophies of teaching and performance. Our
verbally coerced! The journal does not miraculously material¬ previously published series on Daniel Bonade and Rufus Arey
ize every four months; we need your help! are examples of such documentation through .the .recollections
In looking ahead to future plans, there will be no major and research of former students. We shall look forward to
departure from the format that has evolved. I believe that we Mitchell Lurie's planned series for future issues of The Clarinet
now have a visually attractive magazine with consistently in which he will delve into various aspects of clarinet playing.
improving artwork, and layout design. The credit for this goes
Hopefully other artists will be encouraged to put pen to paper
entirely to Betty Brockett and her technical consultants in
also, and years from now we can look back over issues of the
Idaho Falls. It is not an understatement to say that the publi¬
journal and learn how our players today really thought about
cation would not exist if it were not for Mrs. Brockett's tireless
their instrument and its role in the art of making music.
dedication and hard work. When you feel the urge to write a
Îlll!lllllllllllllll|||||||||||||||||||||||llllllllllllllllll,m|m|||||||m|||||||||||||||m||||||||||||||||||||||||||^
=
vertical pressure \
not horizontal as I
other ligatures |
exclusive side shoulders * E

• Will not distort or crush reed fibers nor warp mouth- ™
piece as do metal ligatures. ™
• Top and bottom straps arc spaced wider apart and work ■■
independently of each other. (Helps regulate and control "
reed opening). ~
• Sound posts are scientifically designed to give equal ■-
pressure and full reed vibration. ™
• Tighten screws lightly to desired tension. S
Plaza 3-7111 —
4318 MAIN S
31111111111111111111111111111111111111111 KANSAS CITY, MO Z
llllllllllllll I III! III III 11IIIIIIMI llllllllllllll 11 (11117
28 The Cl.uinct — Spring 197Q
Denmania
edgy, whilst the German one sounded spread and darker in

by John Denman quality. Somewhere between these two models comes the
English preference; we try to have the best of both ideas. The
Well, here we are, sitting comfortably at 30,000 feet in results I leave to your own judgement.
a TWA 727; flight 319, Chicago to Tucson, journey to the sun! I asked Gene Beckwith for his opinions on over-the-
Paula Fan, my pianist (nicknamed "Jaws" for her capacity to counter clarinets. He replied, "It's about time the standard
out-eat any starving clarinettist), anxiously watches the very Boehm was updated; we have been playing on virtually the
attractive air hostess for the slightest sign of food. I, on the same thing since KJose invented it. Improvements have been
other hand, gratefully sip my complimentary J & B and rumi¬ made, but only small ones—" I agree wholeheartedly; it's
nate on all the squeaks, wrong notes, buzzy low E's etc. that time to try to persuade the leading manufacturers to come up
have plagued me throughout our latest concert tour of the with something better than the $900 clarinet of today—the
Midwest. same thing that cost half the price a few years ago. Do you
We lectured and played at the Red Wing Area Vocational know, my Alberts cost only $28 each in 1902. What are they
Technical Institute in Red Wing, Minnesota. The Institute worth now? A few hundred dollars maybe. If I could find a
covers a varied field of vocational pursuits, from truck-driving better clarinet, I'd play it!
to repair, maintenance and research of band instruments. The Before our recital the next evening, I managed to secure
head of the Band Instrument Programme was clarinettist Gene the services of a former student of mine now studying at Red
Beckwith, who was our host for two days. Wing, David Townsend. We played an impromptu perfor¬
Gene gave us the guided tour, dented sousaphones to an mance of the Rondo from the Krommer double concerto for
unbelievable Auguste Buffet clarinet (sharp pitch, Boehm sys¬ an encore,-reading from a photographed piano score, resulting
tem circa 1839 #801), lathes, plating rooms. Everything is in some six yards of music. With the aid of three stands and
new and up-to-date and in first class order. Gene is fastidious Gene Beckwith pulling the music from right to left, we
about training his students to be tidy and orderly. The atmo¬ managed to perform the piece!
sphere of the establishment is most encouraging. Gene's stu¬ The next stop: Lawrence Conservatory in Appleton,
dents show much enthusiasm for their work; they all seem to Wisconsin, and a very impressive bevy of clarinettists in a
have ambition of being future Moennigs. master class situation, students of Dan Sparks. Beautiful
Gene Beckwith teaches the students patience. He will not sounds and sensible performance. Lastly, the University of
pass a job until he is satisfied that the student has perfected Wisconsin at Milwaukee five Grand Duos later, and the stu¬
the operation, whether it be pad setting or a reshaped key. dents of Jack Snavely. Great atmosphere here, good players
In this respect he reminds me of my old friend in England, and a good wind faculty. They seemed to enjoy my jazz at
Ted Planas. Ted could spend all day on a repair and still have the lunchtime convocation, and turned out in strength for the
the patience to start the same project the next day, or until he
managed to achieve perfection.
Our first day in Red Wing, 1 lectured on clarinet mecha¬
nisms, dealing mainly with improving the present Boehm Ultimafe
system. By demonstrating the improvements made on my
Albert clarinet (care of Ted Planas. See "The Man with the
Golden Clarinets" by Marvin D. Livingood, The Clarinet, Sum¬
mer 1978, for illustrations.), I was able to show and play the
c
obvious advantages of having throat note Bb and top Eb vents. ^ BLAYM AN * e
Another point I made was to have the C#-G# key bushed
with a nylon sleeve (similar to the present Boosey and Hawkes
10-10 clarinet), but, angled toward the middle tenon, thus Play
giving room for a larger tone hole, the sound starting from
the correct position and emitting from the usual place. The your best...
articulated G# on full Boehm clarinets always sounds well,
for the tone hole is in the right place, right in the centre of the Play on a Blayman Clarinet
middle joint, and is of the correct diameter, unlike the regular Mouthpiece.
Experience the ease of blowing, the comfort of
. Boehm clarinet. excellent intonation, the luxury of beautiful tone quality
throughout all registers with minimal effort
The Blayman Qarinet Mouthpiece comes in the
REED following tip openings in hundreths ct a millimeter.
aose-H-103-107
Medium-E-108-112
Open-R-113-117
French. German. Very Open-B-118 and up
Look forward to a
We also discussed mouthpieces, cross-cutting the table
for a shorter facing, and especially the angle of the cut of the real treat. Play a Blayman.
baffle. I showed a normal, popular French mouthpiece with 'Solo Clarinetist with the Metropolitan Opera for 28 years.
almost a parallel baffle, and, in contrast, a German Zinner
mouthpiece with a pronounced slope to the angle of the baffle. BLAYMAN CLARINET MOUTHPIECE
The French mouthpiece produced a very centered tone, but P. O. Bo* 40, Tenafly. N.J. 07670
The Clarinet - Spring 29
It Don't Mean a Thing
If It Don't Have That String
by Henry Duckham
In my student days, whenever the conversation drifted

to the matter of ligatures, the string ligature would receive
fleeting mention. We viewed it as a kind of buggy whip, a
method of attaching the reed that, in a bygone era, had to be
tolerated because no one had yet created the metal ligature.
Furthermore, how on earth would the string ever stay on the
tapered cone shape of the mouthpiece unless your mouthpiece
was grooved? Meanwhile we kept experimenting with dif¬
ferent ligatures, a process 1 must say never ceased for me until
last year when I got curious and wrote Dr. John Mohler at the
University of Michigan, asking him if he could illuminate the
mysterious process of fastening reed to mouthpiece via string.
1 shortly received a most thoughtful response complete with
diagrams on its application. Having learned the technique and
having used it for a year now, I find it so eminently satisfactory
that I thought other members of ICS might like to experiment
with it also.
Theory—So Far, That Is
In The Art of Clarinetistry, Professor William Stubbins
extols the merits of the string ligature. His reasons run as
follows:
evening recital. I pulled the same Krommer gag on my old pal
Jack Snavely and he sportingly agreed to play—and did it so 1- The reed acts as a spring—but only the part of the reed
that is freely positioned over the curved portion of the mouth¬
well. Lesson for us all; keep in practice.
piece facing
The super looking air hostess just recharged my glass, and 2. Therefore, the function of the ligature is to firmly
I feel now is the time to be less serious and relate a story of
secure the non-oscillating portion of the reed to the mouth¬
"The English Virtuoso." Jaws is fast asleep, full to the brim
piece. The ligature must do this without undue pressure which
with TWA in-flight steak"—hers, plus half of mine—so here
would distort the reed. Ligatures claiming mechanical features
we go with the story:
allowing the entire reed to vibrate therefore misperceive the
Our hero, who shall be nameless, on his way to the north
true mechanical and acoustical functions of the reed.
of England to play "a new concerto (a thousand notes, no
3. As opposed to the clamping action of metal or some
less)," and having plenty of time to spare before catching his
plastic ligatures, string follows the contour of the reed uni¬
train, felt the need(!) and repaired to the Gents toilet, perhaps
formly, eliminating distorting pressures. Further, string is an
to finalise his thoughts about the closing bars of the slow
ideal material to dampen undesirable noise quotients.
movement?
His remarks make good sense but I am a little uneasy with
Before modernisation, the Gents at Euston station in Lon¬ the notion that the bottom of the reed acts as a handle only
don consisted of the usual conveniences, the actual cubicles
and find it difficult to reconcile this statement with the damp¬
being about 10 feet in length, the "throne" at one end, the
ing effect attributed to string simply because it would seem
door at the other. The doors were very high, but allowed an
the bottom portion of the reed would also have to be involved
18 inch gap between door and floor.
in the total process in order for string to be identified as effec¬
Our virtuoso put down his beloved Boosey and Hawkes
tive damping material. What we may be dealing with is the
10-10 s near the door, took down his pants and sat comfort¬
ably on the throne, the final cadence of the slow movement difference exhibited by clamped vs. hinged vibrating mediums
as described in Arthur Benade's Fundamentals of Musical Acous-
running through his mind, with the imaginary sea of incre¬
tu>. A thorough investigation of the acoustical properties of
dulous eyes looking into his from the rapt audience. This won¬
various types of ligatures, if not already the subject of some¬
derful dream was suddenly shattered when a grimy hand was
one's investigation, would make an interesting and valuable
thrust under the door. The hand quickly grabbed the 10-10
case, and our hero, full of soloist's adrenalin, leapt from the contribution to our understanding.
"loo" the full ten feet, grasped the hand, and bit it with the Pros and Cons
full force of an embouchure used to playing top Cs!
An agonised cry came from the owner of the hand, and Theory aside, there appears to be a general and growing
our virtuoso triumphantly smiled inwardly to himself (You appreciation that the string ligature has advantages over other
need that kind of reflex action to be a soloist!). His elation was kinds. Hesitancy on its adoption by players seem to revolve
short-lived however. In his gallant effort, he found himself around:
full length on the floor, his pants split, and the rest 1 leave 1. The diffiiully of application. A little practice and enough
to your imagination. beeswax can make application surprisingly fast. Yes, it does
Moral: Sits he on ever so high a throne, a man still sits take a few more moments than fabricated ligatures.
on his bottom. 2. Fear of slippage. Again, with an occasional draw through
the beeswax, the string mass is firm and even changing clari¬
— William /, Montaigne
nets in concerts is no problem.
30 The Cl.uinct — Spring IP7C)
3. Inability to adjust. The fact that there are no screws to Application: A length of 5 feet covers the area from just
tighten is really an advantage. As the winding process is self- above the bottom of the reed butt to just above the shoulder
adjusting, there is a remarkable day-to-day consistency of cut on my Borbeck "Antares" mouthpiece. Seal the ends as
feel and response for any given reed. described previously with a match. Draw the string through
Advantages are: the beeswax, making it stiff and somewhat tacky. Wet the
1. More secure feel and response. There is a heightened reed thoroughly and press it against the mouthpiece so it
sense of "blowing into the center of the note" in all ranges. adheres without pressure. With the left thumb (if you're right-
2. Octave to octave smoothness is increased and greater handed) pressed against the reed butt, position the string
homogeneity of neighboring tones is achieved. against the left rail of the reed. (A variation of this place¬
3. Enunciation and ictus is improved. ment has just been reported to me by my former student
4. Reed distortion and windway impression is minimized.
Bob Taylor in a conversation with Karl Leister, principal clari¬
Getting It On netist of the Berlin Philharmonic, at the recent Clarinet Clinic
in Toronto. Instead of positioning the string on the left side
Materials: There is nothing sacrosanct about wristwatch
cord, but it is incredibly durable, non-stretching and has next to the reed. Leister places the string vertically directly
enough surface roughness to provide an excellent string mate¬ opposite the reed on the front of the mouthpiece and begins
rial. A judicious application of a match on both ends will the wind from this position. Leave enough string below the
cause the nylon material to melt and seal. butt to pull on after the winding has been completed. With
Cord may be obtained from: the first finger of the left hand at the reed shoulder bring the
Florida W/J Supply Co. string around as in the drawing. After three or four turns,
500 First Avenue, No. 210 cinch up and continue winding. Continue cinching every three
Driftwood Building or four turns. On the last loop, insert the end through the
St. Petersburg, Florida 33701 loop as illustrated and pull tight. Now pull the left end to
Ask for Hastings Diamond Black.070 All Nylon Watch tighten the top. As a final step press down on the entire string
Bracelet Cord. I paid less than $3.00 (including postage) for 5 mass from the top.
yards which is enough for 3 ligatures. A disc of beeswax may WTiile the process is a little awkward at first, a little prac¬
be obtained at any local sewing store or hobby shop. tice will soon make it second nature. Your first attempt should
be made with a reed whose loss would not cause heartache as
>0 in the beginning it is easy to brush the reed as you are turning.
Illustrations courtesy of Elaine LeVan Duckham. The author

studied with Rosario Mazzeo and Keith Stein and was formerly. Prin¬
cipal Clarinet with the North Carolina Symphony.
ijAvaiQabQe uAgain uAt ££ast
THREE MINIATURES
offie Clarinet and Piano
PORTNOY Krzysztof Penderecki
$3.00
(p/us 85c shipping and 13c

sales tax for shipments to
-Custom designed Missouri, Illinois, Kansas) •
Mouthpiece & Ligature
Through \ears of experience in performing, uAsk uAbout (Qtk&i lMguu
Portnoy has developed a Mouthpiece used l»\ ^-PuMicatiows ô/t C$a/iiH6t
leading Clarinetists. For uniformity, sound,
inionalion. and response, it is unequalled.
Facings: BP1 Close BP02 Personal BP3 Open
Portnoy's patented Cross Bar Ligature has
only four points of contact, side suspension, LLifc
allowing maximum freedom of reed.
See your Dealer, <»r write /or Brochure 1
B. PORTNOY CLARINET ACCESSORIES ^ 4318 Main Street Kansas City, Mo. 64111 ^
1115 Brooks Dr., Bloomington, Ind. 47401

Selected Clarinet Solo and Chamber Music
by the Danish Composer Jorgen Bentzon
composer outside of the Nordic countries.3 The manuscript

by Ronald Peter Monsen, LRAM is in the collection of the composer's widow Fru Karen Bentzon
in Hzftsholm, Denmark.
Ronald Peter Monsen holds the Doctor of Musical Arts Degree from Sonatine, Opus 7, is a three-movement composition scored
the University of Wisconsin-Madison; Performer's Diploma (LRAM) for flute, clarinet (Bb & A), and bassoon. Of the seven works
from the Royal Academy of Music, London, England; Master of Music presented in this article it is the most traditional. At the time
Degree (clarinet) from Northwestern University and the B. Sc. Degree of composition (1924) Bentzon had not yet completely formu¬
in Music Education from the University of Wisconsin-Milwaukee. lated his principles of character polyphony. The work is tech¬
He has studied with Dr. Glenn Bowen, jack Brymer, Alan Hacker, nically demanding in all parts and especially so for the clarinet.
Jerome Stowell, David Glazer and Jack Snavely. He is a faculty mem¬ While ensemble problems are present in all the movements
ber of the Department of Music with the University of Wisconsin the first presents the most difficulties.
Center System. A recording of music for clarinet and piano by Scan¬ Movement one (Allegro) is cast in sonata-allegro form.
dinavian composers is scheduled for release in 1979. The second movement (Adagio) utilizes an ABA form. The
last movement (Allegro) is entitled Rondo by the composer.
During discussions and conversations with colleagues it The present author does not view this movement as a rondo
has been demonstrated that several of j0rgen Bentzon's major in the accepted sense of the term. Rather it must be considered
compositions which feature the clarinet are unknown to many a series of nine variations upon a ten-measure theme presented
teachers and performers outside of the Scandinavian countries. by the flute. It has the following outline:
The music of this twentieth-century Danish composer and Theme
jurist is both appealing and well written. The present author Variations 1-111
hopes that this article will serve as both an introduction to Theme
the composer and to his music.1 Variations IV-IX
There has never been a contemporary Danish composer
for whom chamber music played so dominant a role as it has Variazioni interrotti fiir Clarinetto in B,
for Jergen Bentzon. From the beginning it formed the central Fagotto, Violino, Viola, Violoncello
part of his artistic production. This devotion to the creation of According to the composer's notes Variazioni interrotti was
chamber music during all three periods of his writing had no begun in November of 1925 and completed during the late
parallel in Denmark. The strong emphasis on chamber music winter (March) of 1926. The score was published by Wilhelm
kept the composer somewhat removed from general accep¬ Hansen Musikforlag (Nr. 2748) as opus 12 in 1927. The parts
tance by the musical public. were issued by the same firm (Nr. 2748a) in the following
J0rgen Liebenberg Bentzon was born in Copenhagen on year. Opus 12 is dedicated to the Danish composer Poul
the 14th of February, 1897. His musical education began with
lessons on the violoncello at the age of seven. Approximately
five years later he started piano lessons. During September
of 1914 he undertook studies for a legal career. His first com¬
positions, for piano, date from about this period. Bentzon sub¬
mitted these early works to Carl Nielsen and requested that
he be accepted as a pupil. From September of 1915 until the
summer of 1918 J0rgen Bentzon was one of the Danish mas¬
ter's rare private students. In November of 1920 Bentzon
travelled to Leipzig where he was a student at the Conserva¬
tory. He studied harmony and composition with Dr. Sigfred
Karg-Elert, score reading and playing with Professor Hans
Sitt and piano with Professor Weinreich. He returned to
Copenhagen on June 5th, 1921. Bentzon began his duties as
a secretary with the Ministry of justice on June 16th of the
same year. On the 1st of February, 1933, he became secretary
to the Supreme Court of Denmark. Bentzon served in this
position until his death in 1951."
Sonatine, Opus 7, pour Flute, Clarinette et Basson
The Sonatine was begun about May 1st, 1924 and com¬
pleted no later than August of the same year. This work is
Bentzon's first composition for wind instruments. In 1926
Borups Musikforlag published the score. The parts were not
published until 1948 by Skandinavisk Musikforlag (S.M.
5487). Opus 7 is dedicated to Holger Gilbert-Jespersen, Aage
Oxenvad and Knud Lassen. These three artists, all members
of the orchestra Det Kongelige Kapel and the woodwind quintet
Bhrserkvmtelten af 1921, presented this work at the ISCM con¬
cert in Frankfurt am Main in 1927. This was j0rgen Bentzon's
first recognition (other than his student work in Leipzig) as a J&rgen Bentzon
HANDMADE ...
Schierbeck.
Variazioni interrotti is Bentzon's most often performed JAMES KANTER
piece of chamber music. The first performance was at a private MOUTHPIECES
concert in the home of the composer's father on May 25th,
1926. The first public performance was given on March 16th,
1927. According to the composer's notes, attached to his manu¬ • CLARINET $50
script collection, the performers for this concert (1927) were AA CLOSE A-MEDIUM B-MEDIUM OPEN
Oxenvad, clarinet; Lassen, bassoon; Rafn, violin; Jtfrgensen,
viola; and Bache, violoncello.
Variazioni interrotti is as its name suggests an interrupted • BASS CLARINET..$75
series of variations. The general outline of form is: ONE FACING (MEDIUM)
(A) Main Theme-solo clarinet
Variations I-IX
(B) "Interrupting" section • CUSTOM REFACING
(A) Main Theme-solo bassoon PRICES ON REQUEST
Variations A-H
Variations J-M
Clarinet cadenza
(B') "Interrupting" section JAMES KANTER
Coda 7914 Sadring Ave.
Tema med Variationer for Solo-Clarinet, Opus 14 Canoga Park, Calif. 91304
Tema med Variationer was composed in 1926. Wilhelm (213) 992-1820
Hansen Musikforlag published the work as opus 14 in 1928 Calif, residents add 6% sales tax
(Nr. 3183). Add 50' per mouthpiece for postage and handling
The piece was composed after Bentzon had several dis¬
cussions with Aage Oxenvad about the clarinet and its possi¬
bilities.4 Opus 14 is dedicated to this artist. The first public
performance was at a concert given in celebration of the com¬
poser's thirtieth birthday. It is interesting to note that opus 14
was also included in a special memorial concert (Mindekoncert)
BLAYMAN
given on November 19th, 1951, a few months after Bentzon's
death. The clarinetist at the premier (1927) was Aage Oxenvad.
LAST
The performer at the 1951 memorial concert was Aage Bre-
dahl. The manuscript of this work has been lost. Reportedly
a dyeline print (lyskopi) of the fair copy (renskrift) is in the col¬ STAND*
lection of Edition Wilhelm Hansen in Copenhagen.
Opus 14 consists of a theme followed by nine variations
concluding with a short coda. The theme, which "contains Where do you put your
three motives, is confined to the chalumeau register of the instrument down?
instrument throughout its thirteen-measure length. As the
variations unfold they make greater use of the clarinet's range Do as the leading artists do in the major symphonies.
Avoid breakage, repair expense and time lost during
while becoming more technically demanding. repair by using a Blayman Stand.
The Blayman Vent-Peg (TM) allows air to circvdate
through your instrument u/hile it is resting on its new
rubber-pegged steel base.
Intermezzo fiir Violine und Clarinette, Opus 24 We have pegs especially designed (or the Clarinet.
Bentzon began composing Intermezzo late in the year 1933. E flat Clarinet. Flute. AJto Flute. Piccolo. Trumpet.
The work was completed on January 7th, 1934. Opus 24 is Oboe. English Horn and Straight Soprano
Saxophone. We make special bases for any unusual
dedicated to Ernst Lothar von Knorr, the German music educa¬ combinations of these instruments.
tor. The first public performance was at a concert of Det Unge
Tonekunstnerselskab during the 1934-35 season. According to SUPPORT YOUR LOCAL
the composer's notes the performers on this occasion were INSTRUMENT!
Gerhard Rafn, violin and Aage Oxenvad, clarinet. A fair copy
(renskrift) is in the possession of the publishing firm of Wil¬ The last stand you will ever need. ..
helm Hansen in Copenhagen. This firm published Intermezzo designed by H. S. Blayman. Solo Clarinetist
(Nr. 3332) in performance score in 1935. with the Metropolitan Opera for 28 years.
Intermezzo is a single-movement work in d minor. It is Trumpet
based upon two themes. The first is presented by the clarinet
(Bb). The second theme is given by the violin. These themes
are advanced successively and in variation. Bentzon made BLAYMAN CLARINET MOUTHPIECE
use of character polyphony in this work. P. O. Box 40, Tenafly, N.J. 07670
The Clarinet — Sprin;; 197° 33
The Raccontos The first performance of the Kammerkoncert No. 3 took
Jtfrgen Bentzon's last period of artistic production began place at the first Torsdagkoncert (Thursday Concert) of the sea¬
in 1935. This followed a span of almost five years during which son presented by Sialsradiojonen (The State Broadcasting Ser¬
he was occupied with his work as a director of the folk music vice) on October 10th, 1942. The soloist was Aage Oxenvad.
school in Denmark. The music composed during this last Johan Hye-Knudsen conducted the orchestra.
period is influenced by his change of thought regarding music The concerto is written in three movements (Allegro;
and the purpose of the composer.5 Andante poco meno; Allegro pesante, e con forza). Although
The Racconto is a one-movement composition which composed of separate sections it is performed without pause
utilizes from three to five instruments. It has a rhapsodic yet between movements and retains the feeling of a single-
logical formal structure. Of the six raccontos Bentzon com¬ movement work.
posed, two of them, the third and the fifth, include the clarinet. Unlike some of Bentzon's earlier works this late (1941)
Racconto Nr. 3, Opus 31 for Oboe, Clarinet (A) og Fagot composition calls for the use of a rubato style during much
of the music. It is suggested that the work be performed with
The first two raccontos are a synthesis of the style and piano only for rehearsal purposes.
straightforward manner of writing which Bentzon employed
in his music for the folk music school. With the third racconto Footnotes
the construction is more complex and reminiscent of many
aspects of the Sonutim', Opu> 7. 'For recent acquisitions by the ICS Library of music by
The third racconto was composed in 1937 and published Jorgcn Bentzon see the Spring 1978 issue of The Clurinrf. Vol. 5,
No. 3, pp. 33-34.
as opus 31 in the same year by Skandinavisk Musikforlag.
According to Morten Topp, Bentzon's Danish biographer, "For a detailed discussion (in English) of Jorgen Bentzon's
the manuscript of this work has been lost." The present author career the reader's attention is directed to the author's doctoral
has been unable to determine either the exact date of the first dissertation A Stmly of Schrtcii Clnrinrt Solo inui Chitinbrr MhsiY by
finyni Baihon: A For rrrfonnntite iiihl Triuliiii\'.
performance or the performers. An article written by Richard
Hove about a series of concerts featuring Scandinavian music "For a review of this performance sec Finn H»ffdmg, "Den
given in Gothenberg, Sweden during 1938 suggests to this Internationale Musikfest i Frankfurt am Main," Otin>k Mii>ik
(Copenhagen), 2 (1920-1927), p. 218.
writer that this may have been the first performance outside 4
of Denmark. While the performers for this concert are not A age Oxenvad (1884-1944) clarinetist, studied at Drl kon-
listed Hove's use of the phrase .sine tre kaere Trceblaeser Mu<ikkon>i'rviiloriu)n and with C. Skjerne. He was a member
of Drl kon^t'li^c Kn/wl from 1909 becoming solo clarinet with that
Hjaelp." suggests that the performers may have been Svend orchestra in 1919. Oxenvad held a post as teacher of clarinet at
Christian-Felumb, oboe; Aage Oxenvad, clarinet; and Knud the Royal Danish Conservatory beginning in 1927. He was in
Lassen, bassoon. These artists were close friends of the demand as a soloist and a chamber music specialist in both the
composer.7 classical and the repertoire of new music. Aage Oxenvad was the
Racconto Nr. 5, Opus 46 pour dedicatee of Carl Nielsen's clarinet concerto. He gave the first
Flauto, Oboe, Clarinetto in B, Corno in F & Fagotto performance with the Royal Orchestra under the direction of the
composer's son-in-law Emil Telmanyi in the autumn of 1928.
The fifth racconto was composed in 1945. It was published
as opus 46 by Skandinavisk Musikforlag (S.M. 5485 partition Tor more information concerning Bentzon and the folk
in 16; S.M. 5486 parties) in 1948. Morten Topp reported that music school movement in Denmark see Mmih<krill over
Pi-ntzon. Kobenhavn: udgivet af gamle elever og venner, privat-
the original manuscript has been lost. This racconto demon¬ tryk, 1957.
strates a break with Bentzon's application of strict character
polyphony. "A fine source of biographical information concerning
lorgen Bentzon (in Danish) is MortenTopp's Pu strundluy nl uhhJws.t
Opus 46 is a single-movement work for the standard oii>ki' i'ii i/iir/iryyr/si' nf tiiivikliiiyni i Jtirym lh'ntzi'n< kl^wnl^■r^nn<lklll<k|■
woodwind quintet. The piece consists of eight major sections ••hi. dissertation. Institute of Music, Universitv of Copenhagen,
ending with an eight-measure codetta. While the individual |9c2.
parts are not difficult, the work is far from being simplistic.
Richard Hove, "Festkoncerterne i C.oteborg," Dun-k Mu-ik
A carefully prepared performance by a professional quintet Tiil>>krill. (Copenhagen), 13 (1938), p. 5o.
reveals opus 46 to be a most worthwhile composition.
Kammerkoncert No. 3, Opus 39 for CLARINET: SHORT CUTS TO VIRTUOSO TECHNIQUE
klarinet-solo og mindre orkester by
ROSEMARY LANG
Bentzon's third chamber concerto was begun on May 24th, $3.85 Postpaid
1941. His manuscript commentary concerning this work LANG MUSIC PUBLICATIONS
reveals that it was completed on July 20th of the same year. P. O. Box 11021 — Indianapolis, Indiana 46201
The work is scored for solo clarinet (Bb), two bassoons,
two horns, strings, tympani and xylophone. An edition for
clarinet and piano (klavermlgavt') prepared by the composer
was published by Samfundet til udgivelse af dansk Musik SHALL-u mo *
* PO BOX 282« ROCHESTER. N V 1*&2* I
(3. serie Nr. 77) in 1943. The orchestral score and parts are
available on rental from:
C. F. Peters Corporation
MUSIC & RECORDS
373 Park Avenue South
Send for brochure...
New York, N. Y. 10016
34 The Clarinet — Spring |Q70
Recital Reviews
by Paul Harvey her instrument between each movement had been much
Elizabeth Ann Fogle (clarinet) with Paula Fan (piano). Wig- admired. It is not, she revealed, a fetish object of some Phoe¬
nix swabbing cult, but is black for the very practical reason
more Hall, London, Saturday, November 25th. 1978.
that she feels it does not show up as much against a black
Having missed Dr. Fogle's previous London recital, 1 was dress when used during orchestral concerts.
glad to have this second opportunity, and it was a pleasure to
hear once again the fine piano playing of Paula Fan, who seems
to be making a specialty of accompanying American Clari¬
netists for London recitals. Weber's Grand Duo Concertant
opened the program, giving both players opportunity to dis¬
play their abundant virtuosity. I was not familiar with the jjgS ',1,1
second item; Herman Haller's Recitatif and Allegro, but found
it a powerful work rather in the Hindemith idiom. In the Bax
Sonata, the lyrical phrases of the first movement were attrac¬
tively shaped, and the impetuous second movement, though The Feltham Flasher Strikes Again.
taken extremely fast, was kept under control to furnish a bril¬ In addition to the notices, "No Smoking" and "Please Do
liant conclusion to the first half. Not Throw Buns To The Orchestra," the Royal Festival Hall
Dr. Fogle returned to the platform alone to play Donald should display another saying, "Please Do Not Commit Sui¬
Martino's unaccompanied Set for Clarinet, which displayed cide In The Auditorium." This thought struck me last night
her phenomenal staccato and finger technique to the full. The as I picked my way out of the hall over the prostrate bodies of
recital ended with a performance of the Brahms F minor several clarinettists for whom the shock of hearing sixteen
Sonata in which 1 felt that the aspect of equal partnership year old Michael Collins, from Feltham, Middlesex, had been
between the two players was particularly in evidence. just too much.
Although 4:30 in the afternoon is an unusual time for a Already well known to the public from his TV appear¬
recital, its 6:15 finishing time made possible a meaningful ances in the BBC Young Musician of the Year competition,
assembly of clarinetists in the pub afterwards, without the this occasion was Michael's performance as guest soloist with
usual hassle of waiting for opening time, as in the case of the Band of the Royal Military School of Music, Kneller Hall.
earlier afternoon concerts, or worrying about closing time He played the Rimsky-Korsakov Concerto and the Lovreglio
after evening concerts. Fantasia on Themes from Traviata, both from memory, with
Among those present were the two performers, Georgina a technical facility and sound projection quite incredible for
Dobree, just returned from a most successful lecture-recital someone who has only been playing the clarinet for six years.
tour of the U.S.A., James Schoepflin, of Washington State The accompaniment for the Traviata Fantasia was
University, who was passing through London only for that arranged for band by Frank Slack, a Student Bandmaster at
day, after an Austrian tour with the Muhlfeld Trio, and Bill Kneller Hall, who is currently solo clarinet of the band. It is a
Dakin, an ex-student of David Glazer, now resident in London very musical arrangement, with many subtle touches of tone
as legal counsellor to Mobil Oil and official watchdog on reed colour, which will make it a valuable addition to the repertoire
quality control to the Clarinet and Saxophone Society of for clarinet and band.
Great Britain. (1 understand the former appointment to be the I can't think of anything to criticize in Michael Collins'
more lucrative!) playing; obviously his will be a name to conjure with in the
Many fascinating topics were discussed, such as the clarinet world of the future. If I were his manager, I'd make
behavior of Dr. Fogle's clarinet in the cold and humidity of him play in short trousers and a school blazer, but maybe that
the Borough of Marylebone as compared with the climate of would be rubbing it in too hard, and the clarinet fraternity
Arizona. I had to admit that one rarely sees six foot cacti would be decimated by suicides! I'd like to write more about
pushing their way up through the pavements of Wigmore him, but I don't have time just now, as I've got to catch up on
Street! The black pull-through with which Dr. Fogle swabbed twenty seven years practice!
Everywhere you look
there's a
Yamaha instrume^
Vamaho International Corp, Box 6600, Buena Park,California 90620
The Cl.irinct — Spring 1979 35
Clarinet Library News
The BurnetTuthill Library of the International Clarinet Society
is moving to the University of Maryland where Norman Heim
will serve as its new director. Because of the move the library
will not be in operation for several weeks. The spring issue of
The Clarinet will supply further library news.
Robert W.
Borbeck
- Announces
V
^ his NEW clarinet
mouthpiece
The Antares*
$50.00
For orders or information write:

Robert W. Borbeck
Clarinet Mouthpieces
Box 708
Fernley, Nevada 89408
(702) 575-4584
P O BOX 2824
SHALL-u-mo ROCHESTER. N Y 14*26
PUBLICATIONS /or those who
^Dare to ^Break
with tradition...
RHAPSODY
for CLARINET Op. 33
by BURNET TUTHILL
Clarinet and Piano $8.50

Chamber Orchestra Score
and Parts on rental write
MclNTYRE MUSIC
105 MILL STREET
ORDtRS UNDER $10 INC I UDE SOc NAUGATUCK, CONNECTICUT 06770
FOR POSTAGE AND HANDLING
N Y STAFF RESIDENTS ADD 7% TAX (203) 729-5566
sur*- to iru ludf vour name, addrfss. ,jncf i h«*« k
PLEASE WRITE FOR OUR LATEST BROCHURE

New Music Reviews
by Henry Gulick This contains about two. dozen easy circle canons
Virgil Thomson, Five Portraits (1929) for four clarinets: 1-2 in (rounds); many are traditional, while others are by Purcell,
B-flat and A, E-flat Alto, and B-flat Bass. G. Schirmer, New Mozart, Mr. Brown, etc. Writing remains in the lower register.
York, 1977, $10 for score and parts, 10 min. Good material for beginners.
Movements are titled 1-Portrait of Ladies: a conversation; Alvin Etler (1913-1973), Sonata Number 2 for B-flat Clarinet
2-Portrait of a Young man in Good Health: Maurice Grosser and Piano (1969). Number 4, Long Island Chamber Music
with a cold; 3-Christian Berard, Prisoner; 4-Christian Berard Series. A Broude, 225 W 57, New York 10019 (1977), 18',
as a Soldier; 5-Christian Berard in Person. Range: to the highest C. The four movements are marked
Composer of Four Saints in Three Acts and The Mother of only with metronomic speeds: 1-^ = 63, II-W = 112, 1I1-«I = 40,
Us All as well as a well-known music critic, Mr. Thomson IV-W = 126.
has given us a work from his earlier years in France. It illus¬ This sonata was commissioned by the G. LeBlanc Cor¬
trates his penchant for musical portraits with an open-textured poration at the request of Himie Voxman. It was first per¬
style which is a mixture of the esoteric and the witty. There formed at the University of Iowa in 1970.
are a few technical and rhythmic complications. Advised for As with Etler's first sonata for clarinet, rhythm is a domi¬
advanced groups only. nant factor, along with much syncopation. Here, however,
Nicholas von Slyck, Twelve for Three (1973) for 2 B-flat clari-' we find the twelve-tone technique utilized, and the total effect
nets and B-flat bass clarinet. Southern Music Co., San is more intellectual, more abstract. If you wish to translate
Antonio, Tex 78292, 1976, $5 for score and parts, 18 min. that as "boring," I will offer no objection.
Professor Paul Shelden, Brooklyn College, CUNY, has
The twelve movements are Intrada, Canon, Unison, indicated helpful fingerings for the many trills and high notes.
Romance, Scherzo, Pastoral, Sonatine, Barcarolle, Invention, The manuscript should be better; I found the piano part
Perpetual Motion, Pause, and Final Combination. Just what as well as the ledger lines in the clarinet part rather awkward
this was for originally is not clear; the score is labeled Treble, to read.
Alto, and Bass. The style is fairly conventional with some Technically difficult for both players.
mild dissonances.
1 like the fast movements; they are clever and interesting, F. A. Hoffmeister (1754-1812), Concerto in B-flat major for B-flat
con spirito. The slo'w movements on the other hand seem clarinet and piano, edited by Alison Copland. European
pedantic. Most of the writing is tutti; more rests would have American Music Dist. Corp., 195 Allwood Rd., Clifton NJ
been welcomed by both performers and audience. Level: 07012 (1975) as Sole Agent for Schott, 18', Range: High G.
difficult technically. Price: $5.50. The three movements are Allegro, Adagio and
Rondo. Orchestral accompaniment available by rental.
Claude Debussy, Le Petit Negre for clarinet quartet (E-flat
Soprano, B-flat Soprano, E-flat Alto, and B-flat Bass), arranged From three sets of handwritten parts, Alison Copland has
by L. Aga, Alfonse Leduc (Theodore Presser, Bryn Mawr, PA), prepared this first edition of a clarinet concerto which appar¬
1977, $2.50 (parts only), 2 min. ently predates Mozart's. Copland says in the preface that
"until now Mozart is claimed to have been the first composer
This has become a standard work, and has appeared in to exploit fully the varying possibilities of the clarinet, but his
many different transcriptions. Although the instrumentation expressive use of the chalumeau register, the rapid changes
is rare in the United States, the E-flat soprano part could easily from the low to high compass of the instrument and the
be transposed; written A becomes high D on the B-flat clari¬ warmth of tone achieved in the melodic passages are all fore¬
net as the highest note encountered. Misprints: the third part shadowed in Hoffmeister's work." That is true enough; of
is marked Clarinette Alto en Fa (actually E-flat), and several course that catch is that Hoffmeister's creative ideas place him
F sharps should be F naturals (also in the Alto part). Fairly in the minor leagues with such composers as Carl Stamitz
easy. and Peter von Winter.
Antonin Dvorak, Four Slavonic Dances for 4 B-flat clarinets Wisely, I think, the editor has left much of the articulation
and optional bass clarinet, arranged by Peter Spink. Oxford to the discretion of the performer. I would be inclined to write
University Press, 44 Conduit St., London WlR ODE, 1977, my own cadenzas for the first and second movements.
10 min. Not very difficult.
My score is marked $6.25; surely this includes parts which Norman Heim (editor). Style Studies for the Intermediate Clarinet,
were not received with the review copy. Originally for piano arranged and edited by Norman Heim. 3 Volumes: I-Baroque
duet and later orchestrated by the composer, this carefully Period; II-Classical Period: Ill-Romantic Period. Kendor
thought-out arrangement has main themes only from Op. 46, Music, Delevan, NY 14042, 1978. $4, 5, 6 respectively.
nos. 2, 6, and 8, and Op. 72, no. 16. Mr. Spink has simplified Dr. Heim is Professor of Music at the University of Mary¬
these so that the upper two parts are intermediate level, the land. His intent in this collection is clear: the enhancement
lower two parts, easy. The bass clarinet part is also easy, of the student's understanding of three differing styles, and
though it is not quite the same as the fourth clarinet part. avoidance of advanced problems in technique. The title is
Very enjoyable music. slightly misleading, 1 believe. Rather than studies, we have
John Robert Brown, arranger, Chalumeau Canons for Clarinets here excerpts from the clarinet literature, plus a few Baroque
(2 to 5 players). Chappell (Presser), 1977, $2. transcriptions. Volume I contains original works by C. P. E.
Bach, Pokomy, J. Stamitz, and Handel, as well as transcrip-
tions from flute, violin, keyboard music by Telemann, Vivaldi, Warner Hutchinson is Professor of Music at the State
Geminiani, ]. S. Bach, and Handel. Volume II contains University of New Mexico at Las Cruces and has many com¬
excerpts from solos and chamber music by Beethoven, Haydn, positions to his credit. The Suite for clarinet choir is an out¬
Mozart, Crusell, and John Mahon. Volume III explores Weber, standing work, adding one more composition to this ensem¬
Schumann, Schubert, Brahms, Baermann, Spohr, Heap, ble's emerging original repertoire. The three movements.
Rheinberger, Prout, and Farber. Many of the selections may Roundelay, Litany, and Toccatina, are well crafted music written
be played with piano accompaniment (not included), the in a tonal, conservative twentieth-century idiom, which holds
easier movements of the Brahms Sonatas, for example. great appeal for performers and audience alike. The parts are
One might quibble that Johann Stamitz is Classical rather well-written and the work is scored for standard clarinet choir
than Baroque, or that the ending of Shepherd on the Rock is instrumentation, although without the E-flat clarinet. While
Difficult rather than Intermediate. My principal objection is to put in Grade IV by the composer and the publisher, this work
Render's typography: small notes and crowded pages (as is deceivingly tricky at times, and will challenge even the
many as fifteen lines to a page!) are not conducive to easy accomplished college clarinet choir if played up to indicated
reading. For whatever reason. Volume I is much better than tempos. This composition should be in every clarinet choir
II and III in this respect. library. It is recorded under the Kendor Music label on a new
Typography notwithstanding. Dr. Heim has come up recording of clarinet choir music made by the University of
with a varied collection which offers much material for the Maryland Clarinet Choir.
intermediate student.
Jack End, Six Miniatures for B-flat clarinet quartet. Kendor
BRIEFLY NOTED: Music, Inc., Delevan, New York 14042, 1977, 5 min., $3.50,
Andre Ameller, AmiunHno for B-flat clarinet & piano. Henry Grade 4.
Lemoine, Paris (1968), NPI, 1 +, Range: High D. Very Easy. The repertoire for clarinet quartet (4 B-flats) is always in
Smooth and pleasant. need of original works, especially for younger players. The
Six Miniatures are each quite short but well-crafted movements.
Monique Gabus, Sans-Souci for B-flat clarinet & piano.
The instruments are arranged in a manner which brings out
Lemoine, 17 Rue Pigalle, Paris (1972), NPI, 2', Range: High D,
the best qualities of the clarinet for each part. Although each
or High F if 8va. Easy. "Carefree" it is!
movement is brief, this is good music written in a conservative
Adrian Cruft, Improniplu Op. 22 for B-flat clarinet & piano. contemporary style that would be appealing and accessible to
Chappel (Presser), 1957, $1.50, 2', Range: High F-sharp. Mod¬ younger players. The composer suggests a Grade IV, but there
erately Easy. English and neo-romantic. are some rhythmic passages involving staggered entrances
that can cause some ensemble difficulties for even more
Moritz Moszkovski (1854-1925), Tuw Spanish Dances for B-flat advanced players. Clarinetists in high school will enjoy playing
clarinet & piano, arranged by Lionel Lethbridge. Oxford Uni¬ this work.
versity Press, 1977, $4.75, 3Vz and 3', Range: High E. Inter¬
mediate level. Yes, they are the famous ones, back in a new
edition. These are excellent music for the maturing student. John Stanley and Samuel Wesley, Old English Music arranged
from organ works for oboe, B-flat clarinet, and bassoon by
Carl Baermann (1811-1885), Three Baermann Etudes for B-flat Pamela Verrall. Oxford University Press, 44 Conduit Street,
clarinet & piano, arranged by Harry Gee. Pro Art, Westbury, London, England, 1975, 12 min., $3.90, Grade 3-4.
NY, 1978, $3. These are taken from Volume 2 of the Method: The six movements of this work are alternately by Wesley
No. 19 in F, No. 22 in d, and No. 35 in f. and Stanley, arranged for oboe, B-flat clarinet, and bassoon
with an option to have B-flat clarinet also cover the oboe part.
New Music Reviews This work is intended to be played from the score (with a
separate clarinet part available in lieu of the oboe) which
by Dr. Norman Heim, Guest Reviewer means one stand for three players. This reviewer finds this
aspect rather undesirable from personal experience over a long
Norman Heim has been Professor of Music at the University of Mary¬ career. The music is interesting, with good variety between all
land, College Park, since 1960. He previously taught at Central Mis¬ six movements: Gavotte, Prelude, Hornpipe, Sicilian©, March,
souri College and the University of Evansville. At Maryland he teaches and Vivace. Performers might consider a different order,
clarinet through the doctorate level, clarinet literature, clarinet pedagogy, perhaps starting with the Prelude. The parts are well-arranged;
woodwind pedagogy and literature, and conducts the University Clari¬ this music could be played well by high school as well as
net Choir which has recently made a recording for Kendor. He earned beginning college reed players. Since Stanley and Wesley are
his BME at the University of Evansville, and the M.M. and D.M.A. relatively unknown to the average instrumentalist, some
at the Eastman School of Music. He has published over 100 articles, information about the composers would have been helpful
written six books for clarinet, and is active as a composer for tlw clarinet. on the score in order to give more stylistic performances.
In addition, he has started a new periodical. Clarinet Choir News This reviewer feels that putting the music of these two com¬
International, and is working on two projects: music for bass clarinet, posers (Samuel Wesley 11766-1837] and John Stanley (1713-
and music for the basset horn. He is active as a clarinet performer- 1786|) together in a 6-movement suite is not too desirable
clinician and maintains a clarinet repair shop. because the styles of each are different as well as not espe¬
Warner Hutchinson, Suite for Clarinet Choir. Kendor Music, cially compatible. In spite of these problems, the music can
Inc., Delevan, New York 14042, 1977, 5 min., $5.50, Grade 4. be put to good use.
Remy Violeau, Andante for Four B-flat Clarinets. Gerard Bil-
laudot (Theodore Presser) Paris, France, 1975, 4 min., $2.50,
Grade 3.
This work is quite short, written with traditional har¬ Compositions
monies and melodic material, and could be played quite easily
by a quartet of average junior high school students. There are
few markings relating to interpretation other than tempo; in for 4 Clarinets
order for a performance to be musically satisfying, the parts
need to be edited rather profusely. The conservative romantic BERTOGILLE, G Concertino 13.50
style of this work seems to be out of place for a work pub¬ BIGOT, P. 3 Short Pieces 6.00
lished in 1975. There is some good music here, but the stu¬ HAGSDORFER, F. Suite for 4 Clar. 6.00
dents will need teacher guidance in order to produce a musical KERSTERS, W. Variation on a
performance. Famaby Theme 13.50
Corelli-Telemann, Baroque Etude, arranged by Ira P. Schwarz MAES, J. Contrasts 16.00
for B-flat Clarinet and Piano, Pro-Art Publications, Inc. (Bel- MEULEMANS, A. Serenata 14.00
win-Mills), Westbury, New York, 1978, 3 min., $1.75, Grade 4. POOT, M. Legende 10.00
QUINET, M. Petite Suite 7.50
This work, according to the score, is adapted "after Concerto G rosso
Corelli-Telemann" which this reviewer has difficulty inter¬ (with piano) 10.00
preting. The score indicates the realization and the adaptation SCHOEMAKER, M. Bird Cage 10.00
were accomplished by Ira P. Schwarz, raising further ques¬ VAN DER VELDEN, R. Fantasie 12.50
tions. Is the music taken from actual Corelli and Telemann WHITE, C.C. Suite Spirituale 5.00
compositions, and if so, which works? Or is the music written
in the style of Corelli and Telemann to demonstrate the style
of the composers? The music is profusely edited (presumably
by Mr. Schwarz) and the ornamentation used is discussed in
the score under "some performance considerations." The work Henri Elkan Music Publisher
is really an excellent study of the use of ornamentation in a 1316 WALNUT ST.
typical Baroque slow-fast movement, and would be valuable PHILADELPHIA, PA. 19107
to study for that reason alone. However, this reviewer could
raise questions relative to the articulation. The score indicates
the work may also be played on tenor saxophone, and is
dedicated to Himie Voxman, the distinguished clarinet-
musicologist at the University of Iowa.
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L
The Cl.irinet — Spring 1979 39
New Music Reviews
by John Mohler
Stephen Chatman, Quiet Exchange (1976) for B-flat clarinet signatures are provided for II and IV.
and two suspended cymbals. Dom Productions, P.O. Box 704, Dry, harsh, pointillistic writing begins III, "gradually gain¬
Islington, Mass., 02090, 7 min. ing in intensity" to /// accelerating trill-type alternations be¬
tween E and adjacent D-sharp and F. Wide slurred intervals
Stephen Chatman, presently on the faculty of the Uni¬ lead to a // sustained F4 conclusion.
versity of British Columbia, Vancouver, composed Quiel The melodic lines of IV are beautifully shaped, particu¬
Exchange on commission from Father Robert Onofrey, St. larly through use of rhythmic notation which provides care¬
Joseph's College, Rensselaer, Indiana, while both men were fully formed rubato. The close is a most effective sustained
doctoral students at the University of Michigan. It is a well- resonance trill on E which fades to an inaudible conclusion
designed work which includes subtle interchanges of clarinet (try F-sharp/C-sharp here).
and cymbal tones with periods of "swing style" movement Leslie Basset is chairman of the Composition Department
which call for a bit of theatrics from both players, "optional at the University of Michigan. He has been a Pulitzer Prize
'shuffle' motion," and four-bar "shuffles" in a circle (quite recipient as well as of other awards; his orchestral music has
a challenge for this non-dancer reviewer!) been performed by all of the major orchestras in the United
This title is most appropriate. The dynamic profile States and also in Europe. His chamber music using the clari¬
remains primarily ppp - p, with only a relative handful of m/'s net includes a woodwind quintet, a trio with viola and piano,
and 5/ s, and two / s throughout. Technical demands are mini¬ and songs for bass voice, cello, and piano. Soliloquies was com¬
mal. The tempo is relaxed. The percussionist is provided with posed on commission from Father Robert Onofrey.
a description of notation instructions, although "R" is unex¬
plained. Sub-tone and vibrato are indicated for the clarinetist, Heinrich Sutermeister, Concerto for [B-flat] Clarinet and
as well as several glissandos, the longest from E3 to E4. For Orchestra. B. Schott's Sohne, Mainz (Sole U.S. agent: Euro¬
me the following glissando fingerings have worked well: C- pean American Music Distributors Corporation, 195 Allwood
sharp =L.H. 1, D3 = open, and E4 = A key, register key R.H. Road, Clifton, N.J. 07012), copyright 1977, 22 min., $25. (Piano
1 E-flat/B-flat. reduction), full score and parts on rental from European
Quiet Exchange has an immense amount of audience American Music.
appeal. It is effective at any point on a program, even as a
Though in three movements, this concerto is rather sty¬
closer, and is relatively easy to put together. If it sounds ideal, listically reminiscent of the Hindemith. Concerto in both treat¬
it is only because it actually is.
ment of the solo instrument relative to the orchestral back¬
Leslie Bassett, Soliloquies for solo B-flat clarinet (1976). Merion ground and the harmonic language. The orchestration is quite
Music, Inc. (Sole representative: Theodore Presser Company, rich even though its instrumentation is relatively modest:
Bryn Mawr, PA), copyright 1978, 9 min. all winds (no clarinets or trombones) in pairs, with respective
seconds doubling on piccolo, English horn, and contrabas-
Without a doubt, Leslie Bassett's Soliloquies is destined
soon, plus the usual strings and percussion (including a good
to be regarded as one of the few really fine examples of twen¬
deal of bell sounds: tuned cymbals ([crotales], glockenspiel,
tieth-century writing for the clarinet, and is already considered
so for those of us who have already performed it. I base chimes, and xylophone). As might be imagined, performance
of this concerto with piano accompaniment will not only
these assumptions both on receptions of my own perfor¬
mances of Soliloquies by a wide range of audience types from suffer from lack of accompanimental color but will drive the
coast to coast, as well as on my observations when hearing it accompanist up the wall, especially where the reduction is
performed by others. The music is at times extremely brilliant expanded to three staves! The edition is beautifully printed.
and technically demanding, at other times serenely beautiful, Actually, the concerto has an attractive sound, a grateful
yet continually changing in mood and effect. solo line in addition to the colorful accompaniment. Both of
the outer movements have strong rhythmic energy. In the
The four movement headings are highly descriptive: I—
first movement this is achieved by pronounced ostinato
Fast, aggressive, driving, dramatic; II—Flowing, singing; Ill-
Fast, abrasive, contentious; IV—Slow, lyrical, expressive. From quarter-note movement (often appearing as eighth-note,
the first movement's brilliant opening roulades between F1 eighth rest). Rather regular 4/8-3/8 alternations in the third
«*rid C-sharp to its close on a multiphonic trill ("your best, movement, plus occasional 7/8 stretches (why not 4/8 - 3/8
or the reverse?), give enough variety to the usual compound
fullest multiphonic, plus trill [or high B as ossia]"), the writing
is excitingly dramatic. Short resonance trills (fast timbre meters (3/8, 6/8, 9/8, 12/8) employed throughout.
changes) are frequently indicated, and numerous sffz jabs Although the style is quite chromatic, the clarinet part is
not so demanding as in Sutermeister's Capriccio for unaccom¬
punctuate other sustained resonance trills. Choose keys to trill
which will give you the most effective results. Several tremolo panied clarinet. The first movement's solo entrance is on E1,
beginning an attractive rhythmic figure. There is considerable
fingerings are indicated, although "Oct." should read "Reg."
on page 3. For me, a dependable multiphonic fingering for the writing in the altissimo, peaking with A-flats4, but dynamic
levels in the accompaniment generally are very supportive.
close is •|o..|..o/ and triii R H 2 (or see Rehfeldt, New Direc¬
Otherwise the range is relatively comfortable.
tions. ..).
The second movement is beautifully lyric. The clarinet
11, as IV, is beautifully lyric, although retaining the quick
shares material almost equally with the orchestra, except for
mood changes of I, yet at much more subdued dynamic levels.
a seven-measure segment in which it is given several dramatic
Some sustained pp altissimo writing is demanding. The final
upward sweeps culminating with a subito pp phrase beginning
note (E ) moves to a harmonic fingering for timbre interest
on G-flat, to me the most striking portion of the concerto.
(either remove the register key or add A-flat/E-flat). Time
This movement leads directly into the final one, attacca.
The third movement's generally compound rhythmic Ah, but charm, they drip charm, "joie de vivre," take time
background includes some sixteenth-note passage work, to taste their wine, enjoy the beauty of the day, and that is
again reminiscent of the Hindemith Concerto final movement. a great lesson for us to learn.
Probably the most demanding technical aspects here are the I also enjoyed spending time with Ida Gotkovsky. She
quick octave glissandos beginning on F3 and G3. During the teaches composition at the Conservatory. I find it interesting
final twenty-seven measures the clarinet—unaccompanied— that a woman can excell as a composer in France? She has
is allowed to quietly conclude the concerto as the solo instru¬ written several exciting and beautiful pieces for the clarinet.
ment. This gradual unwinding recalls the composer's earlier Voices of Change will premiere her Concerto for Clarinet November
Capriccio closing techniques. 27 in Dallas and the more 1 yvork on the piece the more I
The Sutermeister Concerto will not stir an audience to a believe it is a truly significant addition to our literature. Our
frenzy, but it is certainly worth considering if a capable contemporary ensemble is trying to bring Ida to Dallas in
orchestra is available. I doubt its effectiveness in a recital February for a Contemporary Festival February 8-10 and hope
situation with piano accompaniment. to see Eolienne for Clarinet and Harp premiered here at that
Preparation of this review was immeasurably facilitated time. It is a beautiful work.
by the availability of a tape recording of the Concerto beauti¬ I would like to see a movement of her Concerto become a
fully performed by Swiss clarinetist Thomas Friedli, accom¬ required piece for the ICS Competition some year. Maybe we
panied by the Beme orchestra. could bridge some gaps between this country and France and
... women in music. I found her to be a warm and enthusias¬
Alan Ridout, Concertino for Clarinet and Strings. Emerson Edi¬
tic person, eager to attend one of our ICS clinics. She has even
tion, Windmill Farm, Ampleforth, Yorkshire, England, copy¬
been to Texas and enjoys vacationing there!
right 1978, $3. (Piano reduction), string parts on rental from
My departure date, June 16th, found Paris engulfed in
the publisher.
rain. The City of Love was crying because I was leaving (and
A composition student of Gordon Jacob, Herbert Howells, vice versa). I would miss the people, their spirit, and dream
and Peter Racine Fricker, Alan Ridout has been on the faculty of next year and a return to Paris. Even though it is unfeminine
of the Royal College of Music since 1960. This concertino to play the clarinet, I love Paris in the Springtime!
is one of a series for each orchestral wind instrument, includ¬
ing saxophone, with string orchestra accompaniment. It is
true to its dimirfutive title; even with well-spaced staves, the Jack Brymer in Australia
solo part covers only three pages. Notation is quite traditional. A Report by Neville Thomas
There are several F^s and G4's, but relatively little writing
below open G2. Finger technique requirements are modest,
but the outer movements demand crisp, though not fast,
articulation.
The first movement is rather straightforwardly rhythmic
and is written primarily near the top of, or above, the staff.
A brief, legato second movement is followed by a thrid move¬
ment whose interest mainly derives from its basic 5/8 meter.
Useful perhaps for rhythmic and articulation study, the Con¬
certino is generally uninteresting and lacking in musical
substance.
Donald G Halloran, Five Miniatures for three clarinets. South¬ By courtesy of the Australian Broadcasting Commission
ern Music Company, San Antonio, Texas 78212, copyright the Clarinet Society of New South Wales was able to have the
1978, $2.75. doyen of English clarinettists for a meeting. During his stay,
from early April until the end of May, he appeared in all
The Five Miniatures, "for Jim Schoepflin," are titled Etude, capital cities both as a guest artist and as a recitalist.
Song, Waltz, Tone Row, and March. They could be probably He altered his tour dates specially for the Clarinet Society
most effectively used at the high school level as preparatory to be able to present a master class, lecture demonstration,
ensemble study especially in the areas of articulation variety, and recital on the 5th of May. Piano accompanist both for this
rhythmic and tonal independence of lines, and the contrasting occasion as well as during his Australian tour was Bayle Pot¬
of dynamics. The March recalls several Sousa tunes (from ter, our own superb soloist, accompanist, and chamber music
Stars and Stripes and National Emblem) in rather amusing performer. Thus to have both these celebrities appear during
juxtaposition. a hectic concert tour is indeed a milestone for our society.
The Joseph Post Auditorium was full to capacity with all
I Love Paris in the Springtime floor space and stow space taken up and with all doorways
jammed with standing spectators. I am sure every clarinettist
Cont. from p■ 24
of note was present together with Clive Amado coming from
France, L'Orchestre de L'Opera Paris, L'Orchestre Philhar- Newcastle with his students to play for the master class along
monique de 1' O.R.T.F. or in L'Orchestra de Paris. As a female with those from Sydney as well.
wind musician likely to be accused of sour grapes I'll still have Jack had humorous anecdotes galore for the question and
to say that most of my lovely French musician friends are answer session and discussed his recent book which he said
totally unaware of what is going on with music and the clarinet served to crystallize his own thinking. "1 learn something
outside of France. about the confounded instrument every time I pick it up!"
Announcements
News of Members the direction of the late Carl E. Seashore. Coe College has
awarded him an honorary Doctor of Music degree.
After serving as woodwind instructor in the Iowa City
and Davenport public schools, he joined the faculty of the UI
School of Music in 1936. In 1954 he became head of the music
department and in 1964, director of the School of Music.
He is the author and compiler of several methods and
solo and chamber music collections for winds. With Lyle
Merriman he has co-authored the Woodwind Solo and Study
Material Music Guide and the Woodwind Ensemble Music Guide
published by The Instrumentalist..
Professor Voxman is a member of various professional
organizations including NACWPI, MENC, AMS, MLA, the
Galpin Society, the Bruckner Society of America, Sinfonia,
and Pi Kappa Lambda.
Compositions Requested
David S. Lewis, Professor of Clarinet and Theory, and Southern Music Company is requesting original accom¬
Chairman of the Department of Music Theory/History at panied and unaccompanied clarinet compositions for use in
Ohio University has been awarded a grant under the Fulbright- the Indiana University International Clarinet Series. The pur¬
Hays Program. Dr. Lewis will travel to the Republic of Singa¬ pose of the series is to enhance clarinet performance and
pore in December where he will become co-principal clari¬ teaching literature. Submitted compositions should be works
netist of the Singapore Symphony Orchestra. The orchestra, previously unpublished and 10-15 minutes in length. Com¬
which is the first government sponsored orchestra in the posers whose works are selected for the series will be awarded
country, is conducted by Choo Hoey, former conductor of the a standard publication contract by Southern Music Company.
Athens (Greece) State Orchestra. The first work to be accepted in the series is Sonnets for clarinet
Dr. Lewis is a member of the Ohio University Woodwind and piano in four movements by Melvin"Solomon, a member
Quintet, Jazz Quartet-THE PROFS, and has appeared as of the School of Music faculty at North Texas State University.
soloist with the Ohio University Symphony Orchestra, Cham¬
ber Orchestra, Wind Ensemble, and Jazz Ensemble.
Index to Clarinet Magazine (1950-57)
Available
Dr. Norman Heim, Professor of Music at the University
of Maryland has compiled for research purposes a Complete
Index to the 1950-57 Clarinet Magazine and Symphony Supplement.
Many articles from the great clarinetists of that era appeared
in those magazines. The index cost is $3.00 to cover duplicat¬
ing and postage. Persons interested in having particular arti¬
cles can get copies from Heim, since he owns a complete set
of the magazines. Direct your request for an index to: Dr.
Norman Heim, Music Department, University of Maryland,
College Park, Maryland 20742. Payment must be included
with the request.
Himie Voxman Named International List of Women Composers

As Editorial Associate Elsa Ludewig-Verdehr is compiling a list of clarinet music
written by women composers of all nationalities. She wishes
Named to the staff of The Clarinet as an Editorial Associate to learn about any manuscript or published work written by
is Himie Voxman, one of the world's leading authorities on a woman composer for B-flat or A clarinet. This includes
woodwind music and Director of the School of Music at the unaccompanied works, works with piano, with voice(s), cham¬
University of Iowa. He will contribute articles in the area of ber music combinations of all types, and concertos (with or¬
history and literature and will serve in an advisory capacity on chestra, chamber orchestra, wind symphony, or band). All
all matters relating to the journal. information (including publisher or source where the work
Himie Voxman began his music study with the late Wil¬ may be obtained), no matter how obscure or obvious it may
liam Gower, Sr. Other private instructors included Clarence seem, will be welcomed and will help in making the compila¬
Warmelin and Gustave Langenus. He earned a B.S. in Chemi¬ tion more complete and worthwhile. Dr. Verdehr is Professor
cal Engineering at the University of Iowa, after which he did of Music at Michigan State University, East Lansing, Michigan
graduate work for his M.A. in the Psychology of Music under 48824.
42 The Clarinet — Spring 197^
When I tried the Lr200, that was it,
the culmination."
Joseph H. Longo
Joseph H. Longo, Co-Principal "When I played it the first day,

Clarinetist of the Minnesota it felt so good — really right. Lately,
Orchestra, recently became one I felt that other instruments weren't
of the first owners of the Leblanc made as well as they used to be.
L-200 soprano clarinet. They've lost some quality—
"It has a mellow sound that can a certain feel, if you will.
be bright or very dark, depending "The L-200 has a different place¬ "There's enough
on what I need. A very solid high ment of tone holes, because of the involved in
register that's well in tune. difference in the bore. Personally, pJaying a part
I find this makes the L-200 very without having
"The best wood comfortable to play.
is used in the to fight the
L-200. I've seen "My impression of the L-200 is instrument.
new instruments this: It's very responsive. It has That's what the
of other makers a wide range of colors. One can whole thing is
play a terrific fortissimo, for about. It's to have an instrument
and I was quite
instance. And the tone holds that feels part of you. One that you
disappointed. can express yourself with."
Theirs was quite together beautifully. Very centered,
grainy. This is smooth and pol¬ with a nice edge, but also with Joseph Longo has at last found
ished. The pieces match each other. a certain mellowness. the clarinet that meets the
"The mechani¬ "Conversely, it works equally well superior standards of an artist.
cal work is in pianissimo. One was able to The Leblanc L-200. The cul¬
marvelous. The maintain that same center of tone. mination of over 150 years of
key action is The same intensity at the softest fine clarinet craftsmanship.
direct, rapid. sound possible. It held together For further information, just call,
Positive. beautifully. toll-free, (800) 558-9421. Or write
"You have to have an instrument to Leblanc, 7019 Thirtieth Avenue,
that's flexible, that will move Kenosha, Wisconsin 53140.
when you want it to without losing
the quality or intensity. There's
a limit to how far you can go, no
matter what the instrument. But
the L-200 gives you wider limits LEBIancQ)
to work with.
The culmination.
The Leblanc L-200

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An Interview with Karl Leister 6

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The Clarinet — Spring 1979 5

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The Clarinet — Spring 1979 7

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The Clarinet — Spring 1979 11

12 The Clarinet — Spring 1979

Overcoming Tension in Playing

more animated as eighth and sixteenth-note patterns are intro¬

a. / = 208 b. W = 104 c. p = 132

The Champaign-Urbana Clarinet Choir began the

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The Clarinet — Spring 1979 23

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Among several visitors at the British Woodwind Workshop August

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The Clarinet — Spring 1979 31

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36 The Clarinet — Spring 1979

Himie Voxman Named International List of Women Composers

Joseph H. Longo, Co-Principal "When I played it the first day,

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