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BOOSEY & HAWKES BUFFET CRAMPON

200 Smith Street, Farmingdale, New York 11735

met

SUMMER, 1985 Volume 12, No. 4

page 13

page 24

page 22

page 9

Classified Advertising 2

Letter to the Editor 2

Pierce's potpourri 3 Jerry D. Pierce

Claranalysis 4 Lee Gibson

Bernard Portnoy 6 Jerry D. Pierce

Letters of tribute 10

In memoriam 13

Care and repair 14 Robert Schmidt

Announcements 18

Concerts and recitals 20

Musical chairs 22

Swiss kaleidoscope 24 Brigitte Frick

The Copland Clarinet Concerto 28 Larry Maxey

Tom Foolery 32 Tom Ridenour

Music reviews 33 Harry Gee

New publications for future review 33

Record rumbles 34 Jim Sauers

Record reviews Lyle Barkhymer 36 Heribert Haase 36 Keith Lemmons 37 Patricia Kostek Huebner 37 John W. Kuehn 37 Jerry Pierce 38 James Loomis 38 William E. Grim 38

Index of advertisers 39

Book review 40 Lyle Barkhymer

Writers' guidelines — The Clarinet 40

ABOUT THE COVER: Bernard Portnoy, subject of the featured article in this issue of The Clarinet, beginning on page 6.

The Clarinet — 1

International

Clarinet

Society

President, Jerry D. Pierce, 4611 Mounds Road, Anderson, Indiana 46013. Phone (317) 643-2914.

Past President, Lee Gibson, 1226 Kendolph, Denton, Texas 76201. Vice-President, David Etheridge, School of Music, University of Okla¬

homa, Norman, Oklahoma 73069. Secretary, Norman Heim, 7402 Wells Blvd., Hyattsville, Maryland 20783 Treasurer, James Schoepflin, Dept. of Music, Washington State Universi¬

ty, Pullman, Washington 99164. Phone (509) 335-3961. Editor, James Gillespie, School of Music, North Texas State University,

Denton, Texas 76203. Publisher, Betty Brockett, 1774 Avalon, Idaho Falls, Idaho 83402. Phone

(208) 522-0908. Advertising Manager, Henry Duckham, Conservatory of Music, Oberlin

College, Oberlin, Ohio 44074. Editorial Associates, Lee Gibson (address above); Himie Voxman, 821 N.

Linn, Iowa City, Iowa 52240. Editorial Staff, John Mohler (Editor of Reviews), School of Music, Uni¬

versity of Michigan, Ann Arbor, Michigan 48109; James Sauers (Associate for Reviews of Recordings), 1234 Summit Street, New Haven, Indiana 46774; Arthur H. Christmann, 4554 Henry Hudson Parkway, New York, New York 10471; James Schoepflin (address above); Henry Gulick, School of Music, Indiana University, Blooming- ton, Indiana 47405; John Anderson, School of Music, University of Minnesota, Minneapolis, Minnesota 55455; Robert Schmidt, School of Music, Ithaca College, Ithaca, New York 14850; Brigitte Frick, Brachmattstr. 16, CH-4144 Arlesheim, Switzerland; Bohumir Koukal, Praskova 7, 772 00 Olomouc, Czechoslovakia.

I.C.S. Research Center, Norman Heim, Coordinator, Music Depart¬ ment, University of Maryland, College Park, Maryland 20742.

Regional Chairmen: Northeastern: Norman Heim. Address above. Southeast: F. Gerard Errante, 4116 Gosnold Ave., Norfolk, Virginia

23508. North Central: Himie Voxman, 821 N. Linn, Iowa City, Iowa 52240. South Central: Wilbur Moreland, Department of Music, University of

Southern Mississippi, Hattiesburg, Mississippi 39401. Northwest: William McColl, 1354 E. Interlaken Blvd., Seattle, Washing¬

ton 98102. Phone (206) 322-7788. Southwest: Lee Gibson (address above). Western Canada: Ronald Goddard, School of Music, Brandon University,

Brandon, Manitoba, Canada R7A 6A9. Eastern Canada: Leo J. Chak, 4 Forest Laneway #2308, Willowdale, On¬

tario, Canada M2N 2X8. Pacific: William Dominik, Conservatory of Music, University of the Pa¬

cific, Stockton, California 95211. International Liaison, Sherrick S. Hiscock II, 1504 Midgett Drive,

Elizabeth, North Carolina 27909. National Chairmen: Argentina: Mariano Frogioni, Juramento 5186, 1431 p. 1 "B", Buenos

Aires, Argentina. Australia: Neville Thomas, 36 Bishop Ave., Randwick, Sydney, Australia

2031. Belgium: Marcel Ancion, Avenue Brachet 21, 1020 Brussels, Belgium. Chile: Luis Rossi, Los Leones 709, dep. 36, Providencia, Santiago, Chile. Czechoslovakia: Milan Kostohryz, U Smaltovny 22/A. Praha 7, Czecho¬

slovakia. England: Pamela Weston, 1 Rockland Rd., London SW15 2LN, England. France: Guy Deplus, 37 Square St. Charles, Paris, France 75012. Italy: Prof. Michele Incenzo, Viale Tito Livio, 176, Rome, Italy. Phone

349-3653. People's Republic of China: Wang Zhi-Jian, Tianjin Conservatory of

Music, Tianjin, People's Republic of China. Spain: Jose Thomas-Perez, General Romero Basart, 131 6.e Dcha.,

Madrid, Spain. Phone 705 4167. Singapore: Dr. Ong Eng San, 21D Grange Heights, Singapore 0923,

Republic of Singapore. Sweden: KjellTnge Stevensson, Mistelvagen 10, 5-197 00 BRO. Sweden. Uruguay: Horst Prentki, Varo 1078, Montevideo, Uruguay. ICS Correspondent for Germany: Allan Ware, Krumme Strasse 26,

D-4930 Detmold, West Germany. © Copyright 1985, INTERNATIONAL CLARINET SOCIETY

ISSN 0361-5553 All Rights Reserved Published quarterly by the INTERNATIONAL CLARINET SOCIETY

Designed and printed by: FALLS PRINTING CO. — Idaho Falls, Idaho USA 2 — The Clarinet

Commercial Advertising/General Advertising Rate

1 Issue 4 Issues 1 Issue 4 Issues Color Color B&W B&W

Outside Back Cover $660 $595 . N/A N/A Inside Front Cover $570 $515 $330 $300 Inside Back Cover $570 $515 $330 $300 Full Page $475 $435 $265 $240 Half Page N/A N/A $145 $130 One-fourth Page N/A N/A $90 $80 One Column-inch N/A N/A $35 $35 Pre-printed 4-page sigs — $250. Specifications furnished on request.

A 10% discount on the second entry will apply for two or more con¬ secutive entries of the same advertisement. Circulation Information:

(a) Rates based on 2000 copies. (b) Character of circulation: Clarinet teachers, students, and profes¬

sionals; college music departments and libraries. (c) International circulation.

Deadlines for copy: Sept. 15, Dec. 10, March 10, May 10. Back issues: single copies $6.00; order from Betty Brockett, 1774 Avalon, Idaho Falls ID 83402.

Camera-ready commercial advertisements should be sent directly to: Henry Duckham, Advertising Manager

Conservatory of Music Oberlin College

Oberlin, Ohio 44074

Classified advertising All ads submitted for The Clarinet should be: 1. Typewritten, double spaced 2. As concisely worded as possible 3. Non-commercial in nature and limited to the sale and trade of

personally owned instruments, music, accessories, etc. 4. Submitted to the Editor by the deadlines given on the ICS offi¬

cers page 2. 5. Placed by members of the 1. C. S. only. Each ad will run only one issue unless the Editor is otherwise advised.

WANTED... A copy of the Jules Demersseman Fantasie for clarinet and piano,

Op. 32. I have only the first twenty-six pages of the piano part from an 1889 edition by Jean White of Boston. This work was once also published by Carl Fischer. I need the clarinet part and the remain¬ ing pages of the piano part.

ALSO, a copy of the L. Grisez arrangements for two clarinets of the Beethoven 1st, 3rd, and 5th Symphonies once published by Leduc.

Please contact: Jerry Pierce 4611 Mounds Road

Anderson, Indiana 46013

Letter to the Editor

Dear Dr. Gillespie: April 15, 1985 Although I have not yet read Dr. Etheridge's book on the

Mozart concerto, I wonder if there was any justification for Dan Leeson's acerbic review?

Especially since your literary critic split an infinitive (2nd paragraph — Page 52) and used a singular subject with a plural verb (last line first paragraph, second column page 52).

What was that old saw about glass houses... ? Or was it glass mouthpieces...? Very truly yours, L. W. Lakritz, M.D. P.O. Box 1058 Beloit, Wisconsin 53511

Pierce's potpourri

^x >4^ Jerry D. Pierce

By Jerry D. Pierce, President, I.C.S.

The Edwin A. Fleisher Col¬ lection of Orchestral Music housed in the Free Library of *• Philadelphia has some very unique works for clarinet and orchestra. They do not make a practice of lending music to individuals; however, organi¬ zations, schools, colleges, or¬ chestras, etc., may borrow music from the collection that might not otherwise be avail¬ able. There is a fee these days so it would probably not be worthwhile to rent the Mozart Concerto or Weber Concertino, which they do have, of course. The real usefulness of the li¬ brary is in locating the orchestra (and sometimes the solo) parts to "out-of-print" older works and concertos that may only be in manuscript. Items such as the Carl Baermann Con- certstiick, Op. 49 or Op. 44, the Paris "solos de concours" of Busser {Pastorale, 1912), Marty {1st Fantaisie, 1897), Mouquet {Solo de Concours, 1902), d'Ollone {Fantaisie Orientale, 1913); plus, lesser known works, such as the Cavallini Adagio and Var¬ iations and Iwan Miiller's 4th, 5th, and 6th clarinet concertos, are hardly available from your local music dealer. You'll need the composer's permission, though, to borrow George Fred¬ erick McKay's string parts to the Sonatine, Op. 15.

The Fleisher Collection holdings are published in a two- volume set with a supplementary list. Your local library may not have these as there were only 500 copies of Volume One printed (on rag paper!), but through the wonders of "inter- library loan" you should be able to peruse the holdings. I found the almost one hundred works listed for clarinet and or¬ chestra to be quite interesting and well worth my effort. It really sheds a whole new light on the repertoire that is avail¬ able should you have an opportunity to solo with an orchestra. The address of the library is:

The Edwin A. Fleisher Music Collection The Free Library of Philadelphia

Logan Square Philadelphia, PA 19103.

The new monthly magazine that may be of interest to read¬ ers of The Clarinet is Windplayers magazine published by Daniel Miller, P. O. Box 234, Northridge, CA 91328. Many of the A. F. of M. locals have been receiving copies, so you might in¬ quire around or write direct to Dan. The May issue contained an article on the La Voz Corporation. I took careful note of a statement which said that the band instrument business took an 18 percent drop in revenue in 1984. I translate that as meaning fewer students, less music available later, thus, fewer jobs in the music field. It isn't a pretty picture, and with enrollment in bands falling off at the junior high and high school level, the colleges will feel these figures very shortly.

The last of the Boosey & Hawkes model "1010" profes¬ sional line clarinets has been manufactured, and there are to be no more. This big bore clarinet somehow never found favor in the American market, but its innovations in design were certainly well thought of on this side of the pond. Much of the music you heard worldwide on records, radio, TV, movies, and in your local bank and grocery store was recorded

on a 1010. To my knowledge, except from the custom manu¬ facturers, there are now no "big" bore clarinets available to either student or professional.

This past summer while attending the International Clari¬ net Congress in London I was able to chat a few moments with Keith Puddy after his basset horn performances. Time is always so short but I did find out that Keith is planning a USA tour. He has spent much time studying music of the 18th and 19th century and performing this music on original in¬ struments. His collection of A, B-flat, C, and D clarinets (and basset horns) is special. A recent release by him (on which he plays some of these instruments) titled Golden Age of the Clarinet is currently available — on cassette or record (CART 1004, Capitole Records, Manygate Marketing Limited, 41 Wey- bridge Park, Weybridge, Surrey KT13 8SQ, England). In¬ cluded in this recording is the second movement of the Danzi Sonata and the Mozart fragment for basset horn, the Wanhal Sonata in B-flat for B-flat clarinet, the Lefevre Sonata No. 5 for C clarinet, the Molter Concerto in D for D clarinet, and the De- vienne Premiere Sonata for C and B-flat clarinets.

William McKinley has been commissioned to write a clari¬ net concerto for Richard Stoltzman, and the work was given its New York premiere with the American Composers Or¬ chestra in February of this year. Stoltzman was the soloist.

The Naumberg Foundation has commissioned Joan Tower to write a clarinet concerto and William Schuman to write a chamber music work for the winner of the clarinet competi¬ tion to be held this coming December by the Foundation.

Finally, the officers of the ICS would welcome suggestions from the membership as to how to deal with increased postage and printing costs. To keep our current involvement in the clarinet world with our commissioned solos, our magazine, and all of our other services, we must have more revenue. This means either many more members to keep costs per member down or an increase in dues. We would welcome your practical suggestions.

inert International

Clarinet Society

The Clarinet is the official journal of the International Clarinet Society. Published quarterly, it is sent without charge to all members.

Membership is open to anyone interested in the clarinet upon payment of annual dues. The following types of membership are available: • Active and Student: The only category of mem¬

bership with voting privileges. U.S., Canada, Mexico, $20 annually. All other countries $30 an¬ nually, which covers the extra cost of mailing The Clarinet magazine.

• Associate: A nonvoting membership available to libraries, publishers, dealers, and others with an active interest in the clarinet music profession. $20 annually.

Send payment by check or money order in U.S. currency to:

NORMAN HEIM 7402 Wells Boulevard

Hyattsville, MD 20783

The Clarinet — 3

Claranalysis

The Yamaha 72 and 72A soprano clarinets

By Lee Gibson For a number of years Yamaha has made one of the very

finest Boehm-system soprano clarinets in A, the YCL 85, as well as an almost equally good, lower-priced YCL 65. Per¬ haps because neither of their earlier first-line B-flat clarinets, the YCL 81 or (later) the YCL 82, was whole-heartedly re¬ ceived by many professionals, the YCL 85 has only lately re¬ ceived the acceptance which it has long deserved. Those who have been hesitant to buy a Yamaha A because of a desire to play a set built to similar standards will be highly impressed by the new 72 in B-flat. It not only looks like a Buffet Cram¬ pon, as Yamahas always have; it is in fact an ultimate tribute to Buffet, being the very first non-Buffet Boehm clarinet which implicitly accepts the R 13 as its acoustical model. Not Selmer, not Leblanc, not anyone else has ever done this. Al¬ though it has dominated the Boehm clarinet world since its introduction by Robert Carree (died c. 1981) in 1950, the premise of the essentially polycylindrical bore of the R 13 in

^Noxtfi c/hmxLccin

<^axo/i(ion£ (^[[iancs

THE NORTH AMERICAN SAXOPHONE ALLIANCE is comprised of musicians, educators, and others who share in common their enthusiasm for the saxophone. The Alliance places great importance on the need to disseminate information which concerns the saxophone and to provide opportunities for music making by both student and professional saxophonists.

The organization, under its present structure, provides the findings of scholarly research and keeps its members updated on new music, new products, and new techniques. To accomplish its goals, the North American Saxophone Alliance publishes a quarterly magazine. The Saxophone Symposium, presents meetings and conferences at the state, regional, and national levels, and informs its members of saxophone news from around the world.

Both Full and Subscription memberships are available to prospective members. Full membership entitles a member to receive The Saxophone Symposium, entrance into meetings and events, and special rates for any materials the orgainzation publishes. Subscription members receive The Saxophone Symposium maga¬ zine. Only non-saxophonist music educators and libraries are eligible for Subscription membershps.

Annual Dues: Full Membership:

Professional $12.50 College Student $7.50 High School Student $5.50

Subscription Membership: Library $7.50 Music Educator $5.50

For membership, contact: Michael Jacobson

No. American Saxophone Alliance Mansfield State College

Mansfield, Pa. 16933

B-flat was not adopted by any other maker until now. The Yamaha 72 at hand, #001001, has a cylinder above

the center joint of 14.61 mm.; that of the Buffet Crampon R 13 #198644 is 14.62 mm. The second cylinder, below the top of the upper joint, averages 14.8 mm. in the Yamaha and 14.84 mm. in the R 13. (This writer has frequently told the clarinet world that such a change would be beneficial.) The 72 therefore provides slightly higher third-register pitches and improved facility in this region, while perhaps doing without a bit of the cavity-resonant mellowness of the R 13.

The lower joint of the 72 has a bore of 14.64 mm. while the R 13's is 14.62 mm., a very small but not an insignificant difference, since this .03 mm. enlargement (from the 14.61 mm. of the upper joint) is beneficial in slightly reducing the oversizing of the low E-B and F-C which tends to be stan¬ dard in smaller-bored clarinets. There are no problem sounds or pitches in the 72, although its high F would be still better if, like Selmer and Leblanc, the C-sharp/G-sharp/F vent of the 17-6 model were placed as near to the center joint as possible.

This reviewer is particularly happy in the realization of a long-standing hope that a major maker would do Buffet Crampon the honor of not merely making another small- bored clarinet but attempting to improve upon the execution of the polycylindrical principle which has been crucial to the success of the R 13s. Plaudits for the 72 are well-deserved by the designers of Nippon Gakki Co., Ltd., who were perhaps led by Mr. Shigeru Yamaryo. With this model Yamaha may have provided our most definitive standard for the 17-6 Boehm soprano clarinet in B-flat.

Differences between the Yamaha 72 A and the R 13 A rep¬ resent greater departures than are found in the two respec¬ tive B-flat clarinets. As to security, facility, and evenness of response, the 72 A #001004 is remarkable. Its smaller, con¬ tinuously reducing, straight-line reversed cone progresses from the top to the bottom of the upper joint, whereas the R 13 A's larger bore is cylindrical from the center downwards in this joint. The 72 A's 2 mm. higher speaker vent makes with its new bore a really marvelous placement of the pitches of each of the first four modes of the upper joint. In the 72 A, Buffet's traditionally smaller vents for its A clarinets have been increased, particularly from the third 1. h. finger hole downwards, in part because of the notably larger bore of the lower joint. This latter good idea from Buffet (the larger cyl¬ inder of the lower joint of the A clarinet) was considerably overused in the Yamaha YCL 82 B-flat; fortunately a quite minuscule amount of this device has been appropriately placed in the 72 (B-flat). It may or may not be slightly over¬ done in the 72 A. This review will not provide exact dimen¬ sions of 72 A #001004, because of the presence in it of one area of concern which did not occur in either the YCL 85 or the YCL 65 A clarinet. The low E-B twelfth of this 72 A is undesirably small, being primarily a result of too much frais- ing of the bore above the bell, and one feels that a correction here must be anticipated. (At a point 1 cm. above the bell of the 72 A its bore is c. 21.05 mm., whereas at an identical point in the total bore of each of two R 13 A's proper twelfths result from a bore of c. 20.73 mm. Of course, the very consi¬ derable enlargement of the cylinder of the lower joint con¬ tributes to this discrepancy.) One must not be didactic about how the fault should be corrected. Indeed, it may have al¬ ready been eliminated from subsequent 72 A's.

For the moment, at least, one is well advised to consider a YCL 85 A to go with this great 72 in B-flat.

4 — The Clarinet

bme of the most enchanting clarinet

sounds ever made can be heard coming

out of these woods.

INTRODUCING THE NEW YCL-72 AND 72A PROFESSIONAL CLARINETS FROM YAMAHA.

If you set out to create the

^ _ best clarinet possible, you would have to start deep in an African forest, a forest with trees that produce a very special wood, grenadilla. Which, when used in a clarinet, is capable of producing the richest, most beautiful clarinet sounds imaginable.

Naturally, the new Yamaha YCL-72 and 72A, in the keys of B-flat and A respec¬ tively, are made from carefully selected and cured grenadilla.

It's just one example of Yamaha's commit¬ ment to excellence. A commitment that's evident in every facet of our new clarinets. From excellence

in engineering, demonstrated by four years of prototype testing, to excellence in mate¬ rials (consider the wood and the silver plated 17 key, 6 ring mechanism). This excellence in craftsmanship is evident in the exceptional evenness of scale in all registers, resulting in truly superb intonation and response.

The new YCL-72 and 72A are part of a new family of extraordinary clarinets.

If you want to play the very best you can, you should have one of these finely crafted instruments for your very own.

Bernard Portnoy

Leopold Stokowski and Bernard Portnoy, Carnegie Hall, New York, 1963, American Symphony Orchestra Concert.

By Jerry Pierce

Few clarinetists ever reach the principal clarinet position with a major symphony orchestra and fewer still can boast that they have held this position with more than one orches¬ tra in what used to be known as the "Big Five." Bernard Portnoy has not only held premiere positions during his ca¬ reer but has also been a major teacher for the younger gener¬ ation of players.

Mr. Portnoy has just retired from his teaching duties as professor of clarinet at the Indiana University School of Music. I have known him for over twenty years and it was my pleasure this past March to visit with him and recap some of his experiences during his long and illustrious career.

Bernard Portnoy was born December 4th, 1914, and he grew up in Pittsburgh, Pennsylvania. His sister played piano and so she thought he should play an instrument like "the clarinet." His first instrument was an "Albert" system which his father bought at a pawn shop for five dollars. His first teacher taught all instruments at twenty-five cents per lesson. Probably the outstanding thing Bernard remembers about this teacher, aside from the fact that the fellow could not play clarinet, was the jingle of quarters in this man's poc¬ ket! It wasn't long, though, until Bernard was studying with a clarinetist who played Jewish weddings. He acquired his first "Boehm System" clarinet (a Buffet) from Volkwein Brothers Music in Pittsburgh. His first major teacher was Domenico Caputo, and by this time the Portnoy family had moved from the hill district to the east end where the family of Robert Bloom (the famous oboist) lived. Bernard's younger brother sang in the choir directed by Robert Bloom's father, cantor at the synagogue, so the families knew each other well. Robert, who was then a student of Marcel Tabuteau, took a personal interest in Bernard's progress and before the end of high school he was urged to audition for Curtis. To his surprise he was accepted. His parents had second thoughts about his leaving high school in Pittsburgh to study clarinet at Curtis in Philadelphia, but

Left to right: Portnoy, Bonade, Hartman, Kelley, Clear- field, and Lester. Curtis Class, 1932.

Bernard Portnoy and Leon Lester, Philadelphia Or¬ chestra Tour, New Orleans, 1941.

6 — The Clarinet

after much coaxing he convinced his parents that this would be best. Daniel Bonade was Portnoy's teacher at Curtis; however, just as things were starting to work out, hard times forced the wind department at Curtis to close. Portnoy re¬ turned to Pittsburgh but was determined to continue with Bonade, who was playing in the Cleveland Orchestra at that time. Bernard found a job as a "soda jerk" which offered lots of hours but little pay. He used the money from his job for the weekend excursion train ticket to Cleveland. Upon arriving in Cleveland he spent twenty-five cents for the movie. This allowed him a chair to sleep in until his lesson. Bernard says he had to work so many hours to make enough money for the train ticket and the clarinet lesson there was little time to practice. Many times the lessons weren't up to Bonade's standards and so the lessons had to be repeated the following week. This was getting him nowhere fast. How¬ ever, just about the time things were at their lowest ebb, a small orchestra was formed by the W.P.A. in Pittsburgh to get artists back to work. Portnoy's problems were solved when he was invited to play clarinet with the orchestra for twenty-four dollars per week. This gave him practice time and a good income for his train trip and lessons. He notes that his clarinet playing improved in a hurry, for Bonade and fortune continued to smile as Curtis was reopening their wind department in the fall. He continued uninterrupted at Curtis this time and received his diploma. While doing so he studied with such greats as Marcel Tabuteau and Fritz Rein¬ er. It was while Bernard was playing "extra" with the Phila¬ delphia Orchestra that Karl Kruger (then conductor of the Kansas City Philharmonic) heard him and engaged him as solo clarinet for his orchestra. Portnoy met Kruger at the Philadelphia Academy of Music after the performance to ar¬ range an audition, but, Bernard relates, Kruger told him "if you are good enough to play for the Philadelphia Orchestra, you are good enough for the Kansas City Philharmonic." When asked what he wanted as a salary, Bernard replied "Ten dollars more than the concert master gets." They

Bernard Portnoy and Amy Chang, Taiwan, September 1984.

Left to right: Cloyd Duff (Tympani), Bernard Portnoy, Fisher (Trumpet), and Mason Jones (French Horn), Trouble Clef, Norristown, Pennsylvania, 1937.

Bernard Portnoy and Augustine Duques attending grad¬ uation, Juilliard School, 1966.

The Clarinet — 7

Philadelphia Orchestra Tour, New Orleans, 1941. Left to right: Sol Schoenbach (Bassoon), Gabe Braverman (Viola), Leon Lester, and Bernard Portnoy (Bass Clarinet).

I.C.S. Convention, Toronto. Left to right: Leon Rus- sianoff, Stanley Drucker, and Bernard Portnoy.

must have come to terms because Portnoy at the age of twenty-three played the 1938 season as Principal Clarinet. Robert Luyben was playing a small experimental wrap¬ around bass clarinet at the time in the same clarinet section. Many are the tales that have been told about the ensuing year. It seems that the orchestras of those days were made up almost entirely of men. Smoking was allowed in rehearsals of the Kansas City Philharmonic which rehearsed at the local union hall. One of the most vivid memories Bernard has of his tenure in Kansas City was the first rehearsal of the Tschaikovsky Pathetique Symphony. It seems the second clari¬ netist was smoking a cigar and caught his pants on fire with the ashes just in the middle of the important first clarinet solo. Bernard remarked, "Can you imagine trying to play beautifully in all that smoke, let alone having someone stomping out a fire next to you."

He and the bassoonist left Kansas City at the end of the season to seek their fortunes elsewhere and Bernard returned to Pittsburgh for the summer. As it turned out, the Pitts¬ burgh Symphony's Principal Clarinet position opened up. Fritz Reiner, the conductor of the orchestra, had taught con¬ ducting at Curtis and so he was already familiar with Ber-

8 — The Clarinet

N.B.C. Tour Cross Country: Toscanini, Chet Hazlett, and Bernard Portnoy.

nard's playing. Portnoy auditioned and was offered the con¬ tract. As he reminisced, "I already knew Reiner so I wasn't afraid of playing for him. He was a very exacting conductor and if you could play under him at Curtis, you could just about play for anyone."

Portnoy's position with the Pittsburgh Symphony in 1939 was only to be one year as he was engaged as principal clari¬ netist with the Philadelphia Orchestra (at the age of 25) in 1940.

When World War II started, Bernard was certainly "ripe" for the draft. Rejoined the Merchant Marine and was stationed in New York City (and therefore was still able to play). However, some of the "higher ups" took a dim view of this, so he trained as a pharmacist's mate and shipped out.

At the end of the war the orchestra had engaged Ralph McLane as the principal clarinet, but all men who had served in the services were supposed to receive their original jobs back that they had before the war. The orchestra's solu¬ tion to the problem was to have the two players "split the book" but Portnoy would have none of that and resigned his position with the Philadelphia Orchestra. He returned to New York City to be on the staff of the WOR Orchestra but George Szell asked him to come to Cleveland as his first clar¬ inetist, and Portnoy accepted this offer in 1947, staying with the orchestra until 1953. He returned to New York City to play with such orchestras as the Columbia Broadcasting Or¬ chestra under Howard Barlow, Toscanini's N.B.C. Sym¬ phony, Stokowski's American Symphony, the WOR Mutual Broadcasting Orchestra, and the Pablo Casals Orchestra.

Among his many students who have received recognition are Stanley Drucker of the New York Philharmonic, Frank Cohen of the Cleveland Orchestra, and Joe Rabbai of the Metropolitan Opera. Portnoy taught at the Curtis Institute of Music and later at Juilliard (1956 to 1968) before coming to Indiana University in 1968 (a position he has just retired from this past spring).

Cleveland Orchestra Clarinet Section, 1968. Left to right: Jimmie Rettens, Bernard Portnoy, Dave Glazer, and Carl Kuhlman.

Kansas City Orchestra Clarinet Section. Left to right: Bernard Portnoy, Fred Joste, M. Luyben (Bob's Father), and Bob Luyben.

The Clarinet — 9

He has two grown sons and a daughter, and I asked him if he was going to continue teaching and maybe do some more playing since he is now moving to the San Francisco area. He said that if he could be of help to those players who would like to study with him, he would continue to teach a few stu¬ dents. Although Bernard's sister is now dead, his brother now resides in the San Francisco Bay area also, so Bernard will have some of his family and friends near his new home.

During the era that Portnoy was performing very little solo clarinet was being recorded, thus there are no records available of him with piano. His legacy is really as a solo clar¬ inetist with a symphony orchestra, and he has recorded for Victor, Columbia, Vox, Capitol, and M.G.M. records. It is a shame that his chamber music performances with such groups as the Budapest String Quartet and the Curtis String Quartet were never recorded, although his performance of the Mozart Sinfonia Concertante (K. 297B) with the Philadel¬ phia Orchestra is now a collector's item. During his many years of performing in New York City he made many sound tracks for TV and motion pictures.

Those readers who may wish to contact Professor Portnoy may do so at his new address which is 10 Skylark Drive, Apt. 6, Larkspur, California 94939.

His love for the clarinet is still as strong as ever, and I doubt if he spends much time looking back on his career to date since he is really too busy planning for the tomorrows that are yet to come.

Publicity photo for R.C.A., New York, 1954. Top, left to right: Abe Goldstein, Bernard Portnoy, and Contract- or (?). Bottom, left to right: Jack Knitzer, Harold Goltzer, and Albert Goltzer.

Letters of tribute

I was very fortunate to have had the opportunity of study¬ ing with Mr. Bernard Portnoy for four years from 1960 to 1964 while at The Juilliard School of Music in New York City. In those four short years of intense musical search, study, and growth, Mr. Portnoy was home base for me. My weekly lessons with him were always a source of expectation, joy, and musical fulfillment. No matter what area he dealt with — tone coloring, phrasing, dynamics, reed adjustment, or repertoire, Mr. Portnoy brought to the subject a great personal insight, individuality, and practicality. These con¬ cepts have helped me throughout my professional career. I will always be thankful for his guidance, support, and most of all for his friendship.

I wish to extend my congratulations and best wishes to Mr. Portnoy on his retirement from Indiana University. Continued happiness and all the best.

Sincerely yours, Joseph Rabbai Principal Clarinet Metropolitan Opera Orchestra

My first awareness of Bernard Portnoy's artistry was on hearing the old 78 Victor recording of Mozart's Sinfonia Con¬ certante in E-flat in which the young first clarinetist was fea¬ tured with the other principals of the Philadelphia Orchestra (oboe, bassoon, and horn). Needless to say, the musicianship and artistic phrasing by the artists in this recording made a

10 — The Clarinet

profound impression on me; little did I know that I would one day have the privilege of studying with Portnoy after World War II.

Although I had won a scholarship at the Curtis Institute to study with Daniel Bonade in April, 1942, I was informed a month later that the school was forced, for financial reasons, to disband the enrollment of winds and double basses for the duration of the war. When the wind classes resumed, Bo¬ nade did not return to teach in Philadelphia, and Bernard Portnoy was appointed Professor of Clarinet. After my dis¬ charge from the Army in 1946, I went to New York to study with him, and continued for the next school year at Curtis. Portnoy's teaching of the Rose 40 Studies, and his great abili¬ ty to explain the technical and musical problems of fine clari¬ net playing, were invaluable to me in those crucial years of study. Feeling that I was making remarkable progress with him during that short year and a half, I was sorry to see him leave to become the first clarinetist with the Cleveland Or¬ chestra.

In his earlier years, Portnoy was coached by Marcel Tabu- teau and took some clarinet lessons from Victor Polatchek of the Boston Symphony. His work and performance with Tab- uteau gave him a superb background. The French oboist's vivid, yet exaggerated concepts of musical phrasing, which were expounded in the woodwind ensemble class at the Cur¬ tis Institute, were then explained to us by Portnoy in a prac¬ tical sense.

When Bernard Portnoy was appointed Professor of Clari¬ net at Indiana University, I did some post graduate study

with him and was impressed with his continuing interest and curiosity in a variety of clarinet literature. Like many great teachers, such as Gaston Hamelin, Simeon Bellison, Marcel Mule, and the late Larry Teal, Portnoy has shown an almost parental feeling in his sincerity and personal interest toward all of his pupils. This very special quality is, unfortunately, not always given by many busy performer-teachers. It is a pleasure to send my sincere wishes and thanks to Bernard Portnoy — a friend and great teacher!

Harry R. Gee Indiana State University

Like all young aspiring clarinetists, one decides on a parti¬ cular style or school of playing; this is usually then nurtured by various teachers and recordings. Both of my former teachers, Bruce Thomas and George Rowe, felt very strong¬ ly that Bernard Portnoy represented the quintessence of the "Bonade School" of clarinet playing.

With recommendations in hand, I traveled to New York only to learn of Portnoy's resignation from the Juilliard School of Music. At the conclusion of the audition, it was Joe Allard who broke the news of Portnoy's departure. He fur¬ ther provided information as where and how to contact Mr. Portnoy. Determined to follow him, I finally located Portnoy at Indiana University.

Recalling the many times I listened to the Philadelphia Orchestra's recording of the Mozart Sinfonia Concertante I could not imagine that a person of this physical stature, with enormous hands, was able to produce such a delicate, effu¬ sive, legato that I wanted to emulate.

As my mentor of four years, Professor Portnoy remained the highly motivating source of inspiration. His teaching areas such as technique were approached via the French Solo de Concours, but not to the exclusion of the great Classical, Romantic, Impressionistic, and Contemporary literature. About embouchure, he preferred to describe the quality and character of sound, rather than setting forth a dogmatic ap¬ proach. I felt that he was recommending that each of us was to ferret out an analysis in terms of individual physical needs. He had the most unique way of drawing upon the parallels of everyday experiences to evoke musical expres¬ sion.

During those four years, regular stages of improvement by his students could be readily observed. I marveled at Port¬ noy's ability to encourage individualism, while many of us encountered many of the same problematic areas of perfor¬ mance.

I remember well as graduation neared, he became the old sage who offered wise, practical, and honest advice. Though he now leaves his academic post, he will remain doyen among the world of clarinet playing.

With sincere admiration, Donald R. Grant, DMA Midland College

Bernard Portnoy was my first teacher at the Juilliard School of Music. I shall always remember the wide smile and the somewhat irregular lower teeth. Also, he liked to move around his spacious office as he listened to the etude or solo. (He knew everything he taught from memory.)

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What he gave me was the Daniel Bonade approach, which he learned at the Curtis Institute: the Rose 40, Rose 32, Baermann IV and V, Rose 20 Grand Studies (my favorite), and the Bonade 16 Grand Solos de Concert. I still recall the odd feeling when he first introduced the Bonade approach to stac¬ cato, where the finger moves to the next note in the articula¬ tion space. I have recently rediscovered this approach in helping my own students solve their articulation problems.

Mr. Portnoy rarely played in lessons, but when Stokowski formed the American Symphony and Mr. Portnoy was se¬ lected to play principal clarinet, it was my good fortune to hear him perform frequently. I particularly recall an out¬ standing performance of Francesca da Rimini.

I still recall a story he told me about his French reed case, which holds 12 reeds and looks like a leather cigarette case. Mr. Portnoy told me of a time when he carried the case in his .back pocket and forgot to take it out before he sat down. We

The Clarinet — 11

have all had occasion to smash one reed, but 12 at one time? Recently, I performed a clinic at the Mid-West National

Band and Orchestra Clinic in Chicago. Mr. Portnoy was one of the exhibitors. I had not seen him since he went to In¬ diana University, and it was great to recall old times and re¬ new an old friendship. The warm, broad smile was still there and he looked great. I only hope that, in the end of my teach¬ ing career, my students remember me with the fondness and respect that I have for Bernard Portnoy.

I pay tribute to the retirement of Bernard Portnoy, a great clarinetist who I am proud to say was my teacher.

Edwin Riley Professor of Clarinet Columbus College (GA)

For seventeen years, it has been my privilege to work with Bernard Portnoy at Indiana University. I think of him as a gentleman, and a professional in the most positive sense of the word. We are all familiar with his excellent and popular mouthpiece for clarinet, and his encouragement of new music. On a more personal level, Bernie seems to care about his students, and the feeling is reciprocated.

His influence in the clarinet world has been considerable. Despite his retirement from IU, his contributions will con¬ tinue, and should be appreciated by clarinetists everywhere.

Henry Gulick Professor of Clarinet Indiana University

When I was fourteen, I played my audition at Curtis for Mr. Portnoy.

I remember his kindness to me at that time. I remember my Sunday lessons with him at which he wore his Merchant Marine uniform (1945). I remember Klose characteristic studies and encouragement from him.

Musicians never stop being musicians, so I know that he will continue to be an inspiration to clarinetists all his life. Stanley Drucker New York Philharmonic

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12 — The Clarinet

In memoriam...

John Martin Cage

John M. Cage, 75, of Yuba City, California, passed away on June 14, 1985 at Mercy Hospital in Sacramento after a sudden, serious illness and consequent surgery.

A native of Stephenville, Texas, he went on to excellence in many fields. He received what was then the equivalent of a Ph.D. in Electrical Engineering and served as professor in this held at Colorado State and Purdue University, writing two books on electronics.

He worked at the corporate level at Hewlett-Packard Co. in Palo Alto being responsible for research and development, several inventions, and helping establish H.P. Ltd. in the United Kingdom.

One of his strong hobbies was plant breeding, and he be¬ came world famous for his work with Amaryllis, being awarded the Herbert Medal, the highest honor in the field, in 1975.

John also was an avid golfer and enjoyed the sport locally at the Peach Tree Country Club.

In recent years he went back to an old love — the clarinet. He had studied many years in his youth, through college. His enthusiasm for music and the clarinet absorbed him, and he became a top local performer with the Yuba-Sutter Sym¬ phony Orchestra, the Community Band, chamber groups and as featured soloist.

He is survived by his wife Mildred, a son John M. Cage, Jr. of St. Helens, Oregon, a brother Col. James G. Cage of Wilmette, Illinois, a sister Carolyn Broadwell of Wichita Falls, Texas and their respective families.

All arrangements are private through The Neptune So¬ ciety.

Edmund C. Wall

We are very saddened to note the passing of one of Amer¬ ica's foremost players. Edmund C. Wall died on January 24, 1985 at the age of eighty-nine. He was solo clarinetist with the John Philip Sousa Band in the early part of this century, and later was solo clarinet with the Arthur Pryor Band and the Goldman Band in New York City. For twenty-four years he was first clarinet of the New York City Ballet orchestra. Mr. Wall was the subject of our cover story in Fall 1982 (Vol. 10, No. 1). We extend our deepest sympathy to Mr. Wall's widow.

Lucien Caillet

Lucien Caillet, another of America's foremost players, born in 1891, has passed away earlier this year. For years Dr. Caillet was clarinetist and arranger for the Philadelphia Or¬ chestra. Later he went on to write movie sound tracks and became Educational Director for the G. Leblanc Corp. His orchestra study book is still used by any clarinetist studying the French repertoire. He was the subject of an article by Harry Gee (French clarinetists in America, Part II) in The Clari¬ net in the Summer 1981 (Vol. 8, No. 4). We extend to Dr. Caillet's family our deepest sympathy.

John Martin Cage

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The Clarinet — 13

Care and repair

Crowfoot & Co. adjustments, Part II

(Continued from Part I in The Clarinet, Vol. 12, No. 3)

By Robert Schmidt, Ithaca College

How far should the E-B and F-C key pads open in the lower joint? (Photo 14)

About three pad slicks worth. (Photo 15). Photo 16 shows a close-up of these two key openings. The F-C key pad must open enough for low G to speak clearly. The E-B key must open enough to give low F a fighting chance to be up to pitch and clear.

To open the F-C key pad slightly follow the example in Photo 17. For a more severe opening follow the example in Photo 18 (shown on the E-B key), actually lifting up on your pad slick.

The two pads should close with equal gripping pressure when the left hand B key is pressed. Check each separately even though two pieces of cigarette paper are shown in Photo 19. Photo 20 serves as a reminder to check in several places around the pad surface and to insert the paper only to the tone hole center.

Photo 21 illustrates how to close the crowfoot opening slightly. This helps when the E-B pad grips more tightly than the F-C key pad.

To close the E-B key, press the key arm (which goes to the left hand lever) against a table edge while firmly holding the right hand lever and pad cup pressed down. (Photo 22). The pliers in Photo 23 point to the precise contact point where key arm meets table.

Photo 24 shows the F-sharp/C-sharp key has a two pad slick opening. Raising and lowering techniques for this key were given in the previous article (Vol. 12, No. 3, Spring 1985).

Photo 25 is a close-up of the four right hand little finger keys in harmony. The E-flat key fingerpiece is lower than and close to the C key, allowing slides in either direction. There is no gap between the crowfoot cork and the C-sharp and B key fingerpieces. Photo 26 (an upsidedown close-up) even shows only the crowfoot tip touching the B key lever for quieter key action!

Photo 14

Photo 15

Photo 16

14 — The Clarinet

Photo 20 Photo 21

The Clarinet — 15

Photo 22

The Clarinet

Photo 25

The Clarinet

Announcements

Premieres... (Publishers and performers are urged to advise the Editor of new works and premieres. Ed.)

Morton Gould's new woodwind quintet, Concerto Concertante (Schirmer), was given its New York premiere by the Bronx Arts Ensemble at Merkin Concert Hall on May 12.

On May 22 Dieter Acker's Eichendorff Sonata for clarinet and piano, a Bote & Bock work, was performed for the first time at Villa Stuck in Munich.

Howard Blake's new Clarinet Concerto (Faber) was given its world premiere at Queen Elizabeth Hall in London on May 30, with the English Chamber Orchestra conducted by the composer, with Thea King as soloist.

Irvin Bazelon's Symphony Concertante (Novello) was premiered by the Berkshire Symphony on April 26 with Julius Hegyi conducting. The work is scored for solo clarinet, trumpet, marimba, and orchestra and is twenty minutes in length.

The world premiere of John Harbison's new Concerto for Oboe, Clarinet, and Strings, (Associated Music Publishers) took place in Sarasota, Florida on June 14. The oboist was Sara Lambert Bloom, the clarinetist Charles Russo, and the con¬ ductor Larry Wolf.

Mohler fall tour schedule announced

October 17: John Mohler, clarinet, with Lynn Bartholomew, piano; pro¬ gram to include works of Weber, Reger, Mazellier, Komives, Bolcom, Onofrey; Ohio State University, Colum¬ bus, Ohio, 8 p.m.

October 20: Old Dominion University, Norfolk, Virginia, 4 p.m.

October 21: William and Mary, Williamsburg, Virginia, 8:15 p.m.

October 22: University of North Carolina — Chapel Hill, 8 p.m.

Swiss clarinetist completes

American spring tour

Lux Brahn played a series of recitals and master classes during March of this year during a tour of the United States. Her stops included Kansas City; Denton, Texas; Charlotte, North Carolina; Boston (Goethe Society and WGBF broad¬ cast), and Yale University. Her repertoire included works by Gade, Sutermeister, Weber, Schumann, Bartok, Poulenc, and Kelterborn. Her pianist, also from Switzerland, throughout the tour was Hanni Schmid-Wyss.

A more elegant, darker tone

with no sacrihce in response

Sacrificing response to get a darker tone quality is not the kind of compro¬ mise you'd expect from Mitchell Lurie. "Without good response characteristics in your reed and mouthpiece, you have to work too hard and can't fully develop the flexibility and subtle nuances in your performance."

To get that richer darker tone quality we now offer the new Mitchell Lurie Premium mouthpiece in two styles with all the response you could ever hope for. The elegant dark tone and responsiveness of the Premium mouthpiece is available in your choice of the finest hard rod rubber or the impeccable quality of Italian lead crystal for Clarinet, Eb Soprano and Bb Bass Clarinet. They are dark and darker with no compromise in their design so they play like nothing you've ever played before.

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18 — The Clarinet

Goodman honored

Benny Goodman was presented the First Annual Hull House Association National Distinguished Service Award at the Association's Annual Dinner held on May 14 in Chica¬ go. The Hull House Association was founded in 1889 by Novel Laureate Jan Addams. Ormand J. Wade, Illinois Bell President and Chairman of this year's dinner, spoke of Goodman's long association with Hull House. "Goodman grew up in Chicago and took clarinet lessons at the original Hull House, now a museum at the University of Illinois at Chicago," Wade said. "Over the years, Goodman has sup¬ ported many Hull House programs and social causes. In addition, this talented 'King of Swing' has served as a good¬ will ambassador around the world for more than four decades, and his contribution to American culture has won him world acclaim."

University of Illinois holds

annual clarinet choir festival

The sixteenth annual Clarinet Choir Festival was held at the University of Illinois on May 3-5, 1985, coordinated by Harvey Hermann. Participating choirs included those from Danville High School, Western Illinois University, Champaign-Urbana, Northern Illinois University, and the University of Illinois. The massed choirs performed Dan Freeman's transcription of Dvorak's Symphony of the New World.

The Walter W. Naumburg Foundation

and the Atlantic Richfield Foundation

announces major clarinet competition

The Walter W. Naumburg Foundation and the Atlantic Richfield Foundation have cooperated in sponsoring a clarinet competition, December 6-12, 1985. This competi¬ tion is open to musicians of every nationality residing in the United States.

The competitors may not be under twenty years of age nor more than thirty-three years of age as of December 1, 1985.

First prize: cash prize of $5,000; two fully subsidized recitals in Alice Tully Hall, New York City; recital in the Library of Congress, Washington, D.C.; and a recording with Musical Heritage Records. The prize will also include two works to be commissioned for the winner — one chamber music work and one concerto.

Second Prize: $2,500; third prize: $1,000. A tape recording screening will be held in September,

1985 by a preliminary panel of judges. Live preliminary auditions, semi-finals and finals will be held in December, 1985.

Application forms may be obtained by writing to:

The Walter W. Naumburg Foundation, Inc. 144 West 66 Street

New York, NY 10023

Please enclose a self-addressed stamped envelope. Appli¬ cation forms and a tape recording of no less than thirty min¬ utes of satisfactory listenable quality must be received at the Naumburg office no later than September 15, 1985.

Sloan named director

at Boston University

Clarinetist Ethan Sloan was recently named Director of the Boston University School of Music. He has been a mem¬ ber of the faculties of the University of Northern Iowa, the University of Victoria, the California Music Center, and West Virginia University. Most recently he served as Execu¬ tive Assistant to the Director of the Peabody Institute of Johns Hopkins University. He is a member of the Empire Trio and has served as principal clarinet of the Symphony of the United Nations and the Festival Orchestra of New York.

Pritchard retires after

26 years of service at USC

James D. Pritchard, associate professor emeritus, School of Music, has announced his retirement effective June 30, 1985 following 26 active years with the University of South Carolina. Mr. Pritchard's service was divided into three periods: first, as director of bands for ten years; second, as professor of clarinet, saxophone, conducting, and woodwind ensembles for nine years; and third, when in 1978 he was appointed associate chairman in the Department of Music. He has served in this position for his last seven years.

His "retirement plans" include time for travel with his wife, the former Carrie Lee McSwain of Newberry.

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The Clarinet — 19

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North Texas State University School of Music

Guest Recital LUX 3RAHN, Clarinet

HANNi SCHMID-WYSS, Piano Ihursdoy, March 28, 198S 8:15 p.m. Concert Hall

'nenie and Variations, Op. 33 Carl Maria von Weber Five Sonatas for Piano Domenico Cimarosa f-jntasy Pieces for Clarinet and Piano, Op. 43 Niels Gade

Allegro vivace Ballade (Moderate) Allegro molto vivace Intermission

(apriccio for Solo Clarinet Heinrich Sutermeister first Rondo on a Folk Tune Bela 8art6k From tne Diary of a Fly Lveninq in the Country First Romanian Dance Four Pieces for Clarinet and Piano Rudolf Kelterborn

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20 — The Clarinet

North Texas State University School of Music

et and String,. Op. (Allegro Moderot-y) > (Andante)

Graduate Recital JOHN E. WHEELER, Clarinet

Assisted by Judy Fisher, Piano Roy Robuck, Violin Mark Hatch, Violin Ellen Townley, Viola Terice Preto, Cello Monday, April 22, 1985 8:15 p.m. Concert Hall Concerto in B-Flat Major for Clarinet and Strings. Allegro moderate Adagio Poco presto Tema con Variazioni pour Clarinette en La and Piano. . Tema Var. 1 - Larghetto misterio Var. 2 - Presto Var. 3 - Moderate Var. 4 - Adagio Var. 5 - Tempo di valza Cadence Var. 6 - Prestissimo Quintet in B-Flat Major, Op. 34 for Clarinet and String Quartet (1811). . .Carl Maria von Weber Allegro (1786-1826) Fantasia (Adagio ma non troppo) Menuetto (Capriccio presto) Rondo (Allegro giocoso)

Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts Alice'Tullyllall

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The Clarinet — 21

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San Diego Symphony Orchestra

San Diego, California

Recently selected as Principal Clarinetist of the San Diego Symphony Orchestra is David Peck. Peck received a Bache¬ lor of Music degree in clarinet performance and in music composition from the University of Southern California in 1973. While at USC, he studied with Mitchell Lurie. In the summer of 1973, he worked with Robert Kemblinsky of the Lausanne Chamber Orchestra at the Institute for Advanced Musical Studies in Switzerland. Subsequently, Mr. Peck freelanced in Los Angeles for two years before being ap¬ pointed Associate Principal Clarinet of the Houston Sym¬ phony Orchestra in 1975. He has also served as a clarinet in¬ structor at the University of Houston and has been an active participant in numerous chamber music performances in the Houston area as well as a soloist with the HSO.

The Cleveland Orchestra Cleveland, Ohio

The newly appointed bass clarinetist with The Cleveland Orchestra is Linnea Nereim who succeeds Alfred Zetzer who has retired after thirty-five seasons. Ms. Nereim was born in Chicago and earned a B.M.E. from Northwestern University. She also did a year of graduate study there in 1973. Her teachers have included Jerome Stowell, Russell Dagon, Larry Combs, and George Weber. She has served as Assistant Principal Clarinet with the Florida Symphony Or¬ chestra in Orlando and as Solo Clarinetist and bass clarinet¬ ist of the Contemporary Chamber Players in Chicago. She has played as an extra with the Chicago Symphony, the Mil¬ waukee Symphony, and the Chicago Lyric Opera. Last Feb¬ ruary she was a soloist in the International Alban Berg Sym¬ posium in Chicago.

22 — The Clarinet

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The Clarinet — 23

Swiss kaleidoscope

By Bngitte brick, Arlesheim, Switzerland

It is amazing how sought-fbr information suddenly mani¬ fests itself from out of the blue. I had a very nice letter from Leszek Zukowski, clarinet professor at the Warsaw Academy of Music. Mr. Zukowski thought I had been prematurely pessimistic about this famous Bucchi mouthpiece. Maybe Switzerland is just way out in the wilds, but, apparently, the crystal Bucchi mouthpiece is quite easily available through Glotin, 15 rue du Progres, F-95460 Ezanville, France. It is available in the following measurements, price FF. 375.25.

Closed 0-01 Medium 1-2 Open 3-4-5 Very Open 6-7

So that's that. No mystery any more. Mr. Zukowski did say he'd like to know why the Pomerico crystal mouthpieces seem only to be really popular in Italy and Switzerland (al¬ though I know of quite a few French players using them). If anyone would like to take up this point and enlighten him, I'm sure he'd love to hear from you.

Leszek Zukowski 00 — 976 Warszawa 13 Skr. Poczt 152 Poland

Leon Lester Editions

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Leon Lester Editions Available at your local music dealer

Due to cuts in local government spending, (yes, even in Switzerland!) great pressure is being put on pedagogues to introduce group teaching right from the beginning. Of course we are psychologically brainwashed by being told it is better for the children anyway. (These are politicians giving us lectures on the teaching of music.) It develops social awareness... partnership... tolerance!! You name it, group teaching provides it — it probably even ensures a good reed every time. Added to all these virtues, it saves money on lay¬ about music teachers. Money that could be better spent on military projects, or covering the countryside with more roads.

Of course I am aware of the benefit of group teaching combined with individual instruction. Most young students will never become great soloists, but can have a worthwhile hobby playing in some kind of group. (We don't have the in¬ stitution of high school bands here, I'm afraid.)

Personally, I find it very difficult to start off clarinet in¬ struction adequately in a group, taking into consideration all the different mouths, teeth, lips, fingers, personalities, and learning capabilities of the students involved. The first lesson works, but after two to three weeks, there appear huge dis- crepencies in breathing control (or lack of), finger move¬ ments, and understanding of rhythmical concepts. The bright ones get fed up with the slow ones. Okay, you say, simple — put the bright ones in a group, and the slow ones together. That works for another couple of weeks until fur¬ ther differentiation occurs. I really don't think one can get around individual study for a thorough, carefully controlled basic training. So many mistakes and bad habits can slip in otherwise. But I stand to be corrected.

24 — The Clarinet

There is is in fact a tutor specially produced for teaching three students at a time. It's called

Premiere Jan van Beekum Harmonia Hilversum (Nederland) 1976 H.U. 2807

It is slightly difficult to get hold of. Use my favorite music supplier if all else fails.

The Band Room Ltd. 28 St. James Road Croydon Surrey CRO 2SA England

I have also heard it advocated as a good idea to start off small students on a special cheap version of the E-flat clari¬ net. It avoids finger difficulties and undue fatigue. This idea was voiced by colleagues as far apart as Edinburgh and Col¬ ogne. Should you want a clarinet tutor for normal purposes, then try Ruth Bonetti's Enjoy Playing the Clarinet, which is both fun, interesting, and musically sound. Very good for a clariatric beginner, because it has quite detailed comments for those trying to learn themselves.

3XFORD TUTORS for clarinet

the

OaruieF

VythBontfti,

Ernesto Molinari

Many years ago, I listened to a presentation concert by students of Hans Rudolf Stalder at the Basle Music Aca¬ demy. One student remained particularly in my mind, not only because of his virtuoso command of the instrument, nor for his tone which was good and solid, but his bravura and audacity of interpretation. The piece, Messager's Solo de con- cours, lends itself to a take off, and this young player capered around on the stage having a whale of a time. On the last tone he flung himself at the audience's feet. My daughter was spellbound and said, "Who was that funny man, Mum¬ my?" Hans Rudolf Stalder stormed out red in the face to re¬ primand the non-Swiss behavior, though I think all has been forgiven now! The young player in question was Ernesto Molinari.

Most concerts I have seen Ernesto perform in have been ones including a bit of drama and wit — like the Wyttenbach work (Badinene) which I mentioned in my previous article; so I wanted to see what was behind this live-wire performer. Like so many clarinetists here, Ernesto Molinari started off at Teachers' Training College, which is where he started to learn the clarinet at the late age of eighteen. His life changed radically when his father bought a record of Benny Good¬ man playing jazz. Ernesto Molinari was completely "wowed" and started imitating all the solos and trying to improvise. He was advised that the best way to fulfill his

The Clarinet — 25

DUD RACllMF /MnilNARI

Philippe Racino: Floten I rnesto Molinari: Bassklarinette, KlarinetLe

dreams was a solid musical education. Off he went, after only two years of instruction, clarinet in hand, to audition in front of Hans Rudolf Stalder. The Sutermeister Capriccio was one of the pieces. He must have had a natural talent, because he was accepted right away, and studied from 1977-1980 at the Basle Academy.

Ernesto Molinari's real love is the bass clarinet. He studied two years in Amsterdam with Harry Spaarnay, go¬ ing on tour with the Bass Clarinet Group of Amsterdam. There are two works that he has played with Harry Spaarnay which no one else has so far attempted. Time and Motion 1 by Brian Ferneyhough and Monologue by Isang Yun. Both, as you can imagine, are fiendishly difficult pieces.

Playing the bass clarinet (Ernesto plays a Selmer bass and Leblanc contra bass.) affected his embouchure on the soprano clarinet, of course. He found that he needed a much more open facing to his mouthpiece than the Vandoren B45, so he changed to a Meyer. His soprano clarinets are Buffet Prestige B-flat and a Buffet SI A. I expect you all know the trick about painting the inside of tone holes with nail varnish to correct intonation? If not, you'd better write to Mr. Moli- nari, because I've only ever used nail varnish to stop a rip in my nylons, and I don't want to tell you the wrong thing to do.

Ernesto Molinari Haltinger str. 13 CH — 4057 Basel Switzerland

Feuilleton Duo Racine-Molinari im Kleintheater

Musik fiir acht Notenstander Ein spiiriiches, aber begeistertes Pu- blikum genoss am Dienslag im Klein- theater die abwechslungsreichen Dar- bietungen des Duo Philippe Racine (Flote) und Ernesto Molinari (Klari- netten). Das Programm «Serenade» bot einen Querschnitl durch Zeitge- nossisches.

Die acht Notenstander, von denen Er¬ nesto Molinari «Time and Motion Study U von Brian Ferneyhough abspielte, «das wohl verruckteste Stiick fiir Bass¬ klarinette solo*, waren fast ein Symbol fttr den ganzen Abend: Show-Requisit und nUchteme Notwendigkeit in einem. Was an diesem Abend mil sympathi- scher Nonchalance prasentiert wurde, war zum Teil exzessiv schwieng Die «al- temative* Darbietungsform kontrastier- te ausserst vorteilhaft zum tienschen Ernst, welcher in «ordentliehen» Kon- zerten so oft Witz und Ironie von Kom- positionen im Keirhe erstickt.

Sowohl das hervorragende Niveau der sen fiinf Jahren ais Duo aufiretenden jungen Musiker als auch ihre sehr zweck- dienlichen kurzen Erl&uterungen bekun- deten grosse Lust am virtuosen Experi¬ ment. welches Spieler und Zuhdrer her- ausfordert. Dies war vorab bei Stiicken von Giacinto Scelsi, Luciano Berio (Se- quenza fiir Flote) und Jiirg Wyttenbach (Serenade) der Fall. Leichter zugdnglich gaben sich Heitor Villa-Lobos, Jean Ri- vier und Willy Burkhard (Zugabe). Wie gut die beiden KUnstler auch aus- serhalb der sogenannten E-Musik und deren Avantgarde zu Hause sind, zeigte sich in den improvisatorischen Teilen ih- res eigenen Stiicks «Lusuolo» und zwei vergnuglichen Swing Duets. Wer den Abend verpasste, sich aber beispielsweise dafur interessiert, wie Pic¬ colo und Kontrabassklarinette- zusam- menklingen. kann dies vermittels der Platte «Serenade» (duraphon-records LP-HD 410, Therwil) nachholen.

$£ s.-£> CpKpr

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1acf© s,c'i he/ " Ge der v/ "1 Slicu los^ 0&ne Zr':S?rcnadt

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intUIPMI HACINI ■ f IntisL Philipi

l)«>l i M«* ml K;iv ifi fiir i und h«n MichiH iid lit i lm-ll. < rdii!nr.te air, Musikc»r in fUisnl. 1901 wucUkii IjLnfkt* fiir St.rt?irhnrrh»!r>U?r nrul Ja//hantJ im *)t.aiJli:d!iinn iir,«if()ufiihrL. t^r kcin/nrLu*rLH tnit. f^ran: Ulv^s. Ji»r«) Ulv'.LJ'nhacn. Mafir.jiirq Hnk u. a. in der 'ichwui/ uimj im Aunland. fW:h (J«»m Soli«»U;nijipl(im 1%} hi-'hi'II. tjr tlnr Rfnin-Mirderprum /tir i inLeisliil/unq si?ini>r Arboii. .ils Mii- LisL. Im '>i*U)i?n Jahr U'it.(»Le i»r /usamfnt'n mil Ihiirinn Brain (1 liiLcrnaLioiiaU; '.ioinmtM laijer ilt-r .Jouiwj'.'U's ^iisicalps. Sfiit- hi?r !;pu»lt. t»r hanfiq ah; K;»mn*»riiHjriiki.'r und tiolist im Auslan und in (l»»r SchvwiM/. Ooiu'tien unterrirtit.Ht. »»r .«i «H?r Musik-

I KM SID Mill INAKI » riHK>t.P Mcilinari wnrui: I'Mjb in lutjaiu) •ji'hniH'n. I r sLii(li»»rt.i' Kl.iriru'l.ti' fin dm Muiiik-Aktjilomif? Uast'l tint Hans-Hudnlf iIim. H- Mnindpt-c I'JBl fin Ja/z-lun liriU kcin/m-LirrU' ah. k!as!»i!>i"tM>r KJaruu'tt.isL uhUm* .mcUM'pm mit. Jiinj lilvt-U'n- harh. HiinshtMn/ . Uiom.i;i Di-mi-rnja. i\j'hi»n snli- sLisrtn'it Aijft.rjt.UMi mil. tJur C.imj'iaLa Bfrn. di'm Aii. Huii'mbU! won ffcjsH ii. a.. sUidiiM U' in- IkjssklaniuH.U' ln?i Hiiri v r»parn,wi in AmiiU.'i Uam. J r si'hliuis das St.udiiim mil tlnm SnliHtPn- diplom iili. Mit. dMr "Raustiarinpt.-lliiiup nf Amslri ilijin" kdn/pr- LiiM'Li1 pr iInrr11 | ut opa. t r erim-lL HI. und H<. St ifn'iiilii'i PiiM'i ilivi hi'n I nnkiinviLlri v.i'iciii!. (MV).

DAS DUJ Das N«» in«.'/M(jlinari-Dun •■pii'll u hnn ?i<»iL 'j .!alii <?n ri'«ji'l- massii) /uii<»mmifn. Aiin«M-. tM'/H'hunqiiwnita' ohronfalhq isL t)(M iJi«»!ii>m Duo rlar. /uii«MTim»!n;H>n>I /wmUh* Musiknr, dio in iMiiHHk-nun Musik«K»t.Uiiitj»'n tKla-isik, Av/iMit -'jai dp, .In//) /i Mausi' smcj. Ni'hv.L roqHr Kon/pi t.laLi«]kiMl ah» Duo. '.ipii'lpn iHMdpn Blast'r mit. di?m ItlNM-l mvpnihln BilfiPl /ur.ammi-n. m Iih'ii dip Srhaliplat.U' "lii'ipnadp" und im Mprti'.L im das Duo dpn ;M:hun?i/priiic-hi»n uJet.Lbcworh dps SIV fiir <iiMK')S!»isi:tiP Musik.

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iSPr vicir,)lt und pipfn Jatirtiun- rt) Utvtt.(>nhai:h.

Mr. Molinari is very keen indeed to have contact with other bass clarinetists, hear about other bass clarinet reper¬ toires, in any bass clarinet context whatever.

Before I go any farther, I have a frightful confession to make. I was supposed to pass on a copy of a record by Ernes¬ to Molinari, clarinet, bass clarinet, contra bass clarinet and Philippe Racine, flute and piccolo, to my dear friend Jim Sauers for review. After listening to it there is NO M^yi'm

p/Moliiwjn-Duii : "S< \ nsprntilp tlaspl : "t1

Philippp Warux! Llai'iMTkit. t.tarPq IS 1:h-/.UV Basi'l ipi. riM.i) ii no w I rnpst.o Molinari Malt.inqpi-atrasivp 1 liM-wrw IJaspl lul. {(Ihl) i/ /I ?[)

26 — The Clarinet

going to part with that record, so I'll have to review it myself.

It is a gem... so refreshing, so thoroughly musical, so witty — or have you got lots of recordings of the piccolo and con¬ trabass clarinet together? The engineering is of a pretty high standard for a small studio. I've heard worse from the "greats." The title is quite simply "Serenade" with works by:

Andre Jolivet Sonatine pour flute et clarinet (1961)

Willy Burkhard Serenade fur Flote und Klarinette (1953)

Heitor Villa-Lobos Choros (No. 2) pour flute et clarinette (1924)

Jiirg Wyttenbach Serenade fiir Flote und Klarinette (1959, rev. 1979)

Philippe Racine et Ernesto Molinari Serenade Bluesy March Klangspiel Duellino Meerklang La caravane des haricots A rrivederci

The last is an absolutely great musical romp by Molinari and Racine. I couldn't believe the human noises they got out of those instruments. Of course if you can speak German, you are in for a bit of entertainment reading the record cover, too, in which Jiirg Wyttenbach describes his work Serenade... — better known he says, by the title Sins of youth. The cata¬ logue number of the record is LP HD 410, Duraphon Records, CH-4106 Therwil, Switzerland. If in doubt, write to Ernesto Molinari. (Clariatrics, you'd love this... put the sparkle back into your eyes!)

The Molinari/Racine Duo have been playing together for five years, and they belong to the contemporary and avant- garde music society in Basle. In the fall 1984, they won the Swiss Tonkiinstlerverein prize for contemporary music. Their next project will be a recording of the ballet Pierrot Lunaire by Arnold Schonberg with Lina Akerlund, soprano.

Clariatrics and others... There's a handy little gadget called Metrina Multi by Zen

on, which you can hang round your neck when practising with friends or even alone. It combines a tuning device, me¬ tronome, stop watch (useful for timing pieces in a program) clock, and alarm (in case either you or the audience fall asleep in the middle). Size 5 cms. by 4 cms. Cost SFR. 98. It has a relatively strident optional metronome beat, which is useful with arhythmical students!!!

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Bamber mouthpieces for Bb clarinet and saxophones: $39.00 to $75.00.

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The Clarinet — 27

The Copland Clarinet Concerto

By Larry Maxey, University of Kansas

The music of Aaron Copland is filled with examples of outstanding solo, chamber, and orchestral writing for the clarinet. As early as 1925 the clarinet was featured in his or¬ chestral work Music for the Theatre, and the ballet Appalachian Spring includes the clarinet as one of the thirteen instruments for which the original version is scored. The clarinet is also prominent in his symphonies, as evidenced by the fact that Copland arranged his Second Symphony for a sextet consisting of string quartet, piano, and clarinet.

Copland's clarinet concerto was commissioned by Benny Goodman and is a notable example of Goodman's efforts to expand the repertoire of his instrument. Other Goodman commissions include the Bartok Contrasts and concertos by Hindemith, Milhaud, Alex North, and Robert Russell Ben¬ nett. Sections of the work reflect a strong jazz influence, and from this standpoint the concerto is closely related to the mu¬ sic of Copland's first period (1920s) when the jazz element was an important part of his style.

Copland began work on the score in 1947 and completed the first movement in October of that year while in Rio di Janeiro on a goodwill tour. The work was finished and or¬ chestrated by October of 19481 and was published by Boosey and Hawkes shortly thereafter. Other works from this time include the Third Symphony (1946), the Quartet for Piano and Strings (1950), and the song cycle Twelve Poems of Emily Dick¬ inson (1950).

The first performance of the concerto was scheduled to be by Ralph McLane and the Philadelphia Orchestra on No¬ vember 24, 1950, but less than three weeks before that date NBC announced that Goodman would do a radio premiere on November 6 with Fritz Reiner conducting the NBC Or¬ chestra, and that performance was broadcast as scheduled. McLane's subsequent performance in Philadelphia was the American concert premiere, however, and McLane also gave the New York premiere four days later on November 28, 1950.2 Both performances were with Eugene Ormandy and the Philadelphia Orchestra, of which McLane was prin¬ cipal clarinetist.

The New York performance is addressed in the December 15, 1950, issue of Musical America in a curious review by Ro¬ bert Sabin in which he both praises the work and damns it in successive phrases. To quote Mr. Sabin: "The concerto is music of masterly economy and maturity of style, but it is second-rate Copland. Despite its manifold beauties of tex¬ ture, it is thematically nondescript and rhythmically lifeless... The first (movement) is almost completely static... for all its rhythmic skill and exactitude of scoring, the rondo sounds manufactured."3 Vincent Persichetti's review of the same performance appeared in the April, 1951, issue of Mu¬ sical Quarterly. Mr. Persichetti liked the first movement and wrote: "Only music as simple and beautiful as this satin pre¬ lude could linger so long without the stimulus of opposing melodic ideas and generating rhythms."4 He was somewhat less enthusiastic about the second movement, however, and evaluated it this way: "... alternating tunes are employed in an effort to interest the work in a rondo. However, the form goes no further than that of a newsreel, misspliced with re¬ takes. It is disheartening to hear the slapping of the bass and smacking of the harp because the effort to save the pieces is made to no avail. The first movement was an unqualified statement, the cadenza an unmotivated flourish, and the fi¬ nale a collection of statements... McLane got little support from the orchestra when he proceeded to swing the finale be¬

cause the jazz seemed to make the conductor uncomforta¬ ble. "5

The west coast premiere of the work was done by the Los Angeles Chamber Orchestra in November of 1950 with Har¬ old Byrns conducting, but only those who saved their pro¬ grams from that performance know who the soloist was since it apparently was not announced to national publications. The European premiere was also given in November, 1950, with Clemens Reitz as soloist and Herbert von Karajan con¬ ducting the Vienna Philharmonic.6 The British premiere fol¬ lowed on May 31, 1951, with Frederick Thurston as soloist and with Copland conducting the Jacques Orchestra.

Shortly after these premieres the work was taken into the ballet repertory in 1951 as the musical basis for Jerome Rob- bins' The Pied Piper.7 Arthur Berger compliments the concer¬ to but pans the ballet by stating, "The work demonstrates Copland's rare skill for achieving a striking rhythmic effect with the fewest possible notes continued within an incisive rhythmic pattern... The tendency on the part of most serious music lovers to underestimate the Clarinet Concerto, their failure to appreciate the genuineness of its inspirations, is re¬ grettable, and the clownish excesses of the Robbins choreog¬ raphy have been no help in illuminating the weightiest pro¬ perties of the score."8

Analysis The concerto was originally written for string orchestra,

harp, and piano, and a piano transcription was later done by the composer. Transcriptions often leave much to be de¬ sired, but in this case there are factors which make the situa¬ tion more tolerable. For example, although the string score represents at least five-part writing, this does not present the same problems as trying to fit an entire orchestral score un¬ der 10 fingers, and since the transcription was done by the composer, we may be sure that the lines which he considered important will be in the score. There is also a much greater homogeniety of timbre in a string orchestra than in one which includes winds, and although the luminescent sound of the strings is lost, at least the uniform tone quality of the piano parallels the uniform timbre of the string section. Since the piano transcription is performed far more often than the original version for orchestra, the following analysis will be based on the composer's arrangement.

The concerto is in two movements which are played with¬ out a pause and are connected by a solo cadenza. The work centers primarily on the key of C Major. The first movement is in ternary form with a coda, and the second movement is a very free rondo concluding with an extended coda. Although the first movement is very straightforward formally (A-B-A1- Coda), the thematic diagram of the second movement looks more like something that might have been transmitted by a ship in distress: A-B-C-A-transition-C-X-D-B-transition-D- X-Coda. The structure of this movement will be discussed in more detail later in the analysis.

The first movement, very serene and lyrical, is marked "Slowly and expressively." Copland is meticulous about adding metronome markings whenever there is a tempo change and there are five such markings in the first 100 mea¬ sures alternating between M.M. 69 and M.M. 76 to the quarter note. The harmonies are very widely-spaced and transparent; the clarinet reinforces this by spending much of the movement playing in the high register, often quite softly, and with many wide leaps. The movement opens with sus-

28 — The Clarinet

tained, broken diatonic lOths in the bass (Example 1).

Example 1. Accompaniment Figure

This figure continues almost uninterrupted throughout the first movement and comes in later in the second movement at a last tempo. Of the 115 measures in the first movement, all except 15 retain this figure, hereinafter referred to as the "accompaniment figure".

The clarinet enters in m. 4 with the main theme, which is partially shown in Example 2. The theme contains many leaps of 6ths, 7ths, 8vas, and two leaps of a 12th. The piano begins the main theme again while the clarinet holds the final note in mm. 19-21.

Example 2. 1st Movement, Theme 1.

The second theme begins in m. 24 in the clarinet and is partially shown in Example 3. The theme and the accompan¬ iment make prominent use of fourths and fifths both melo- dically and harmonically. In spite of the key signature of two sharps, the tonal center of this theme is B-flat major due to the use of accidentals. (Note: all examples except Nos. 1 and 7 are transposed, i.e., these notes are read by the clarinetist and actually sound one step lower).

Example 3. 2nd Movement, Theme 2.

The main theme returns in the clarinet in m. 37, but alter¬ ations are made through the use of octave displacement, rhythmic changes, and by reversing the order of two of the notes near the end of the theme. The piano plays a rhythmic imitation for six measures before the two instruments come together at the end of the A section in m. 51.

The B section (mm. 51-76) is marked by an immediate change of key to E-flat major and by a change of tempo. There are frequent metrical changes, thus contrasting with the use of % time in the entire A section. At the outset the piano borrows the ascending fourths and fifths of the 2nd theme while retaining the accompaniment figure. The clari¬ net has a very angular line against sustained stepwise motion in the bass. The return of A (mm. 77-94) is marked by a re¬ turn to C major and the indication "Tempo I". The main theme is sounded almost immediately in the accompani¬ ment, and the clarinet plays scale steps 5-4-3-2-1-7-1 in counterpoint to it. In the orchestral version the first violins imitate this scale passage, but the imitation does not appear in the piano version. The melody appears in the piano for twelve measures and is then completed by the clarinet. Cop¬ land uses the second version of the main theme here rather than the original version from the opening measures of the movement.

The coda (mm. 95-115) begins with a combination of ideas from both the A and B sections — an accompaniment

OBERLIIi

It's important for a clarinetist to have the space to grow. The Oberlin Conservatory offers its students the most enriching Kind of space. Musical SpaC6. Musical groups and performing opportunities abound from early music to jazz ensembles, woodwind quintets to wind ensembles, chamber orchestras to full orchestras and student touring ensembles. There's room to grow in 182 practice rooms, the extensive music library and the finely-equipped electronic music studios. Academic Space. The Conservatory shares a spacious campus with Oberlin College where students can take advantage of a full offering of liberal arts courses. A five-year double degree program provides both the Bachelor of Arts and the Bachelor of Music degrees. Personal Space: Campus life is rich and varied, covering a wide range of extra- curricula, housing and dining options. Lawrence McDonald Professor of Clarinet Student of Robert Mar- cellus, Clark Brody, Jerome Stowell. Solo & chamber music per¬ formances at the Library of Congress, Smithsonian Institu¬ tion, Alice Tully Hall and Aston Magna. Member, Oberlin Wood¬ wind Quintet. Principal clarinet, Toledo Sym¬ phony Orchestra and Peninsula Festival Or¬ chestra. Recordings for Qasparo, Orion and Advance. "A wonderful musician and master of his in¬ strument" Richard Dyer, Boston Globe.

For more information about the Conservatory and regional auditions write:

Michael Manderen, Room 302, Oberlin College Conservatory of Music, Oberlin, Ohio 44074 (216) 775-8413 Please send Pictoral Catalogue.

name Street City State Zip

The Clarinet — 29

The Clarinet and Saxophone

Society of Great Britain

The Society Founded in 1976 the Clarinet and Saxophone Society was

formed for the mutual benefit of everyone who has an interest in the clarinet or saxophone and their repertoire. Teachers, students, professional or amateur players, manufacturers or composers, the Society has members in twelve countries, in¬ cluding the U.S.A and Australia.

Membership of the Society not only admits you to the Socie¬ ty's benefits but also enables you to generate new contacts, form new groups or ensembles and promote and strengthen the development of the art of the single reed.

The main purpose of the society is: • To publish a quarterly magazine providing information and

research relating to the clarinet and saxophone, with par¬ ticular regard to performance, repertoire, history, design con¬ struction and maintenance together with reviews of con¬ certs, books, new music and recordings.

• To organize or encourage the organization of workshops, lec¬ tures and seminars which are open to the public.

• To encourage the composition, publication and recording of works for, or including, the clarinet or saxophone.

• To encourage research into the development of the design and construction of the instruments.

• To provide a lending library service for members. • To make available an insurance scheme for members. • To furnish members with expert advice.

The Annual Congress The society's Annual Congress takes place in July each year

at which members from throughout Britain as well as from overseas come together for a weekend of recitals, lectures, demonstrations, clinics and workshops.

The Annual Teachers' Course This is held at Easter each year and is specifically designed

for teachers of the clarinet and saxophone.

Membership Fees AI1 fees to be paid in Sterling SUBSCRIPTIONS

U.K. & Eire Europe All Other Individual membership £12.00 £14.00 £15.00 Student membership £ 6.00 £ 8.00 £ 9.00 Senior citizens £ 6.00 £ 8.00 £ 9.00 Family membership £14.50 £16.50 £17.50

Affiliated Membership Commercial, industrial concerns and professional groups £30.00 £34.00 £35.00

Amateur and educational groups £18.00 £22.00 £23.00

ALL ABOVE FEES HAVE A £1.00 DISCOUNT IF PAID BY STANDING ORDER.

Membership applications and enquiries to: The Membership Secretary

Susan Moss 24c Wellwood Road

Goodmayes Essex 1G3 8TR

is borrowed from B, while the clarinet plays the main theme from A. Before completing the theme, however, the clarinet wanders off into the 2nd theme and plays the consecutive as¬ cending fourths and fifths that characterize it.

The cadenza which bridges the two movements has some unusual characteristics. Whereas most cadenzas are retro¬ spective in nature, this one foreshadows the second move¬ ment. Three of the four themes of the second movement are introduced in the cadenza and these themes supply much of the material for the movement. The jazz idiom is injected in¬ to the piece at this time and becomes an important factor thereafter. The cadenza is unusually long, occupying a page and a half in the solo part, and is very triadic, primarily be¬ cause it dwells on the triadic theme C of the second move¬ ment. The articulation is unusual in that the cadenza is al¬ most completely tongued, and at one point Copland writes forty-six consecutive measures without a single slur. The main theme of the first movement is echoed at the very be¬ ginning of the cadenza by the use of descending figures emu¬ lating its first few measures. Themes C, B, and D are intro¬ duced in that order followed by an extended passage based on theme C. The triads in this latter passage are very clearly outlined, and an analysis of them shows consecutive groups of three or four chords with the first and last having a tritone relationship. This tritone relationship was very interesting to discover, but it must be confessed that there seems to be no significance for it whatsoever in terms of the rest of the piece.

The second movement is very rhythmic and syncopated with much use of staccato for the purpose of emulating the dry sound of the string pizzicato. The clarinet often plays very high and very loud, up to A-sharp3 fortissimo. At the beginning of the movement (m. 121), the piano re-enters playing a paraphrase of the accompaniment figure while the clarinet holds an F-sharp3 at the conclusion of the cadenza. After four measures a portion of theme A appears in the right hand of the piano (m. 125) and shortly thereafter theme A is stated pointillistically by the piano (m. 136). The clari¬ net breaks in with two measures of the theme before the piano again takes command. The clarinet finally states theme A in its entirety (Example 4) while the piano provides a preview of theme C. All during this time the accompani¬ ment figure (Example 1) is still being played by the left hand.

Example 4. 2nd Movement, Theme A.

Theme B appears in the clarinet part in m. 179. This theme implies a feeling of compound meter, and Copland's notation using dotted quarter notes seems to indicate that this is what he had in mind (Example 5).

Example 5. 2nd Movement, Theme B.

Twelve measures later theme C is introduced in m. 187 (Example 6), with imitation and stretto occurring between the soloist and the accompaniment.

30 — The Clarinet

Example 6. 2nd Movement, Theme C.

Theme C is then played by the right hand of the piano against an ostinato-like figure in the left hand (m. 195), and this is followed by a "question and answer" section in which the clarinet and the piano toss the theme back and forth (m. 205). Theme A returns in the key of A major in m. 223 and five measures later there is a striking modulation to G-flat major. The ubiquitous accompaniment figure is still present in the left hand. A transition section using theme A begins at m. 239. At first the accompaniment figure is constant, but then it begins to falter until it is heard only spasmodically. The clarinet brings a motive of theme C back in m. 251 and a modified version of the accompaniment figure is restated.

An intense, syncopated, highly rhythmic section occurs from mm. 269-296 during which the meter changes fre¬ quently, but the accents create a strong feeling of % meter. The soloist adds to the intensity by playing in the high regis¬ ter. A portion of this section, labeled "X", is seen in Exam¬ ple 7.

Example 7. "X".

While Copland was completing the first movement in Rio de Janeiro, he heard a popular tune that struck his fancy and he incorporated it into the concerto, complete with a "walk¬ ing bass" line. It is clearly the most jazzy melody in the work (Example 8), and it appears in m. 297.

Example 8. 2nd Movement, Theme D. Brazilian Theme.

Theme B returns for twelve measures in m. 324 and is fol¬ lowed by a transition built on theme D that passes through several keys (mm. 335-349). Theme D returns in B-flat ma¬ jor in m. 350, although the key signature is E-flat major. Shortly thereafter is a section in A major which Copland writes for the clarinet in a key signature of six flats (mm. 364-378). This section is marked "suave", so possibly G-flat major is Copland's "suave" key. Clarinetists are doubtless grateful that his suave mood was so shortlived.

The rhythmic, chordal "X" section returns in the piano in m. 391, leading to a passage of very harsh polychords. As in the previous instance the clarinet again plays in the high register and has a variant of the pattern which it played be¬ fore. The coda comprises the closing sixty-six measures of the work (mm. 441-507) and utilizes ideas from all of the themes of the second movement.

K

MUSIC for the CLARINET by

MEYER

UPFERMAN

UNACCOMPANIED CLARINET Moon/lowers, Baby! (1983) J azz Essay

Five Little Infinities (1981)* Infinities §33 (1982) Four Flicks (1980)* Five Singles (1968)*

CLARINET & PIANO Sound Objects #4 (1978) Four on a Row (1965)*

CLARINET & FLUTE Four Constellations (1970)*

Four Charades (1959)* CLARINET & PICCOLO

Short Shrift (1970)* CLARINET & BASSOON Duo Divertimento (1947)* CLARINET & CELLO

The Good Friends Duo (1972) Air Phantoms (1981)

CLARINET & GUITAR Premeditation (1975)

CLARINET & SOPRANO Miickenschwarm (1982) Three Blake Songs (1971) CLARINET & TAPE Soundspells #6 (1982) TWO CLARINETS

Four Double Features (1970)* CLARINET & OBOE

Infinities 32 (1981) CLARINET & VIOLIN

The Garden of My Father's House (1972)*

Three Foe Two (1970)*

SONGS The Conceptual Wheel (1968)*

(Sop., Gar., & Pno.) cycle of 3 Adjustable Tears (1977)

(Sop., Gar., & D Bass) Jazz Cycle Sixth Sonnet (1981)

(Sop., Gar. & Cello) aria CLARINET, FLUTE & OBOE

A Spring Trio (1981) Windspells (1982)

(also Picc., Alto Fl., Eng. Hrn., & E-flat Clarinet)

CLARINET & STRING TRIO Poetics #5 (1983)

TWO CLARINETS & PIANO Infinities #31 (1981)

MIXED TRIOS Tunnels of Love (1970)

a jazz concerto (Gar., Bass & Drums)

Torchwine (1982) a secular cantata

(Basset Horn, Sop. & Piano) Sound Objects #8 (1978)

(Gar., Viola & Bass) Trio Concertante (1948) (Gar., Flute & Violin)

Poetics #6 (1983) (Gar., Viola & Piano) MIXED QUARTETS

The Red King's Throw (1977) (Gar., Cello, Pno. & Perc.)

Soundspells Four (1982) (Gar., Oboe, Cello & Piano)

NEW WORKS Clarinet Concerto (1984)

(Gar. and Orch.) Image (1984)

(Gar. and Viola) Five Flings (1984) (Gar. and Piano)

Those pieces marked with an (*) are available through: Boston Music Co.

Airport Drive, Hopedale, MA 01747 (617) 478-4813 All other works may be ordered by writing or phoning

MEYER KUPFERMAN 86 Livingston St., Rhinebeck, NY 12572

(914) 876-6295 or (212) 724-5357 Upon request tape or disc recordings can be made available for most of these works.

Composer's reprints may be obtained if any works are out of print.

The Clarinet — 31

Tom Foolery...

Tom Ridenour

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Another symphony concert this week, Mr. Tremble?

End Reed Problems

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Comments Like most works, Copland's concerto has received its

share of criticism, some of which may be seen earlier in this article. Others feel that the work is not idiomatic for the clar¬ inet and that Copland might have profited from closer colla¬ boration with Goodman during the compositional process. A clarinetistic style of articulation has evolved over the years, often involving a combination of tonguing and slurring in such patterns as 2-and-2 or 3-and-l. Use of consecutive tongued notes for an extended period could well result in a somewhat clumsy-sounding overall effect, but Copland adopts this approach even in the cadenza, where one might expect to find articulations that would provide a maximum of forward motion. A personal observation, albeit a minor one, is that the piano cues in the clarinet part are untrans- posed in the first movement and transposed in the second movement. Perhaps this oversight resulted from having dif¬ ferent copyists for the two movements.

In general it may be safely said that there are no surprises in this work in terms of departures from Copland's style in the late 1930s and the 1940s. The ostinati, frequent meter changes, rhythmic juggling of figures, clean texture, angular line and use of polychords are all typical of his writing at that time. The strong jazz flavor may be considered unusual in view of the fact that Copland had stated twenty years earlier that he had done all he could within the framework of sym¬ phonic jazz, culminating in the Concerto for Piano and Orchestra in 1927. However, he often composed for specific ensembles, specific performers, and specific purposes, and in these situa¬ tions the music was tailored to fit the situation and to fulfill the need. Copland felt that a concerto for Benny Goodman called for incorporating the kind of music which made Good¬ man famous. Whatever motivations came into play in the creation of this delightful and thoroughly stimulating work, it goes without saying that clarinetists will forever be grateful to both Copland and Goodman for providing such a marvel¬ ous addition to the literature.

About the writer... Larry Maxey is a graduate of Michigan State University

and the Eastman School of Music, where he was a student of Keith Stein and Stanley Hasty, respectively. He is currently Professor of Clarinet at the University of Kansas. This arti¬ cle was supported by a University of Kansas General Re¬ search allocation.

ENDNOTES 1. Arthur Berger, Aaron Copland, p. 33. 2. James Collis, "Copland's Clarinet Concerto," The Clarinet,

Fall, 1950, p. 24. 3. Robert Sagin, "McLane is Soloist in Copland Concerto,"

Musical America, December 15, 1950, p. 27. 4. Vincent Persichetti, "Copland Clarinet Concerto," Musical

Quarterly, April, 1951, p. 261. 5. Ibid., p. 262. 6. Collis, op. cit., p. 24. 7. Berger, op. cit., p. 82. 8. Ibid., pp. 81-2.

32 — The Clarinet

Music reviews

By Harry Gee

W. A. Mozart (ed. Beyer), Adagio in F, KV 580a for clarinet and piano. Eulenberg (U.S. agent: C. F. Peters).

To quote the editor, Franz Beyer, "The Adagio for Clarinet and three Basset Horns, KV 580a, was composed about 1783 and, as Alfred Einstein surmises, it was intended as ritual music for some masonic festivity. However, Mozart only completed the first section of this movement, and from bar 29 onwards, he merely noted down the principal part." The arrangement of this gem for clarinet (or oboe, flute, violin) and piano (or organ) is a must for Mozart lovers. Apart from the wide range of performing possibilities from recital hall to church service, the arrangement is all the more feasible since the melody is almost always played by the upper part. This late Mozart work is contained in a recent recording by Thomas Stacy, the English horn soloist with the New York Philharmonic. He performs a version with his favorite in¬ strument and strings on the Spectrum label (SR-159) entitled "Stacy On 2."

William Presser, Arioso for soprano saxophone or clarinet and piano. Tenuto (U.S. agent: Theodore Presser), 1984. $3.

This leisurely solo was written in 1980; the suggested speed is a quarter note at M=66. Presser's music is melodically and harmonically conservative with good use of contrapuntal writing; he has composed seven solos for various members of the saxophone family, also a duet, a trio, and a quartet. The three and a half-minute piece begins with the solo instrument alone for four measures followed by canonic imitation in three parts. A middle section of twelve measures gives a contrasting articulated style which leads to a shortened recapitulation and coda.

The solo part contains one two-measure section in double

score to accommodate the difference of ranges between the suggested instruments. Perhaps ossia sections should have been extended to give the soprano saxophone a less extreme tessitura. These bottom and top notes on the soprano saxo¬ phone might present a performance problem for younger players. Because of the possibilities of a larger range, this piece might be more effective as a clarinet solo.

New publications for future review

Johann Pachelbel (arr. Dorff), Pachelbel Canon for Wood¬ wind Quintet, Theodore Presser Company, 4 min., $7.50

The following arrangements by David Carp, Carp Music, Inc. (Theodore Presser Company):

Three Pieces by J.S. Bach; Four Piano Pieces by Johannes Brahms; Two Pieces by Orlando Gibbons; Jacobean Music; Mozart, Overture to The Magic Flute; Praetorius, Suite from "Terpsichore" for Woodwind Quintet, $6.50 — $8.50. Renaissance Wind Trios for oboe, clarinet, and bassoon, $6.

John Heins, Sonata for Clarinet and Percussion. The In¬ diana University Series. Southern Music Company, $10.

Henry Lazarus (ed. Ralph Bolls), Studio Espressivo for Clarinet and Piano. Southern Music Company, $3.

Trevor Roberts, Trois promenades for Clarinet and Piano. Southern Music Company, $6.50.

Andre Patrick, Premiere rhapsodic for Clarinet and Or¬ chestra (piano reduction). Gerard Billaudot (U.S. agent: Theodore Presser), 8 min., $6.75.

Giuseppe Saverio Mercadante (rev. Guy Dangain), Con¬ certo in B-flat Major for Clarinet and Chamber Orchestra (piano reduction). Gerard Billaudot (U.S. agent: Theodore Presser), $10.75.

Jacques Bouffil (rev. Frederic Geispieler), Sixieme trio, Op. 8, No. 3. Gerard Billaudot (U.S. agent: Theodore Presser), $10.75.

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KANSAS CITY, MO. ^iiiiiiiiiiiniiiiiiiiiiiiiiiiiiiiiiiinrrniiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii7

The Clarinet — 33

Record rumbles

By Jim Sauers

It looks like Compact Discs are here to stay. More music is being recorded on them, and the prices are coming down slowly. Some are available for about $11 to $12, and this is less than some long-playing records. Also, the cost of com¬ pact disc players is down — some really excellent players cost less than $300. And if that were not enough, there are com¬ pact disc players available for installation in automobiles. What is really amazing is that some of these players are not much larger than the compact disc plastic case. Now if they will put more music on the discs, I will be more than pleased.

Here is a partial list of compact discs that might be of in¬ terest to clarinetists, and if anybody knows of others, please let me know; perhaps we can list them all for awhile.

ORFEO C 004 821 A; Richard Strauss, Symphony for Winds in E-flat Major, played by the Miinchner Blaseraka- demie.

ORFEO C 051 831 A; Dvorak, Serenade for 10 Wind Instru¬ ments, Cello and Contrabass; Gounod, Petite Symphonic in B-flat Major for 9 Wind Instruments, played by the Miinchner Blaser- akademie.

ORFEO C 054 831 A; Meyerbeer, Gli Amori di Teohnda, Jorg Fadle, clarinet, with the RIAS Kammerchor and the Radio-Symphonie Orchester Berlin.

ORFEO C 060 831 A; Darius Milhaud, Chamber Music for Winds and Piano, Eduard Brunner, clarinet.

ORFEO C 063 841 A; Mozart, Don Giovanni Harmoniemu- sik, arranged by Joseph Triebensee and played by the Miinchner Blaserkademie.

ORFEO C 067 831 A; Weber, Concertino and Clarinet Con¬ certos No. 1 and No. 2, played by Eduard Brunner and the Bamberger Symphony Orchestra.

ORFEO C 068 831 A; Brahms, Clarinet Qrnntet with Karl Leister, clarinet and the Vermeer Quartet.

ORFEO C 092-841 A; Mozart, The Magic Flute Harmonie- musik, arranged by Heidenreich and played by the Miinch¬ ner Blaserakademie.

NONESUCH 79018-2; Richard Strauss, Duet Concertino; Honegger, Concerto da Camera for Flute, English Horn and String Orchestra, played by the Los Angeles Chamber Orchestra, David Shifrin, clarinet.

NONESUCH 79033-2; Janacek, Mlddifor Wind Sextet and Idyla for String Orchestra. Clarinetist is David Shifrin.

NONESUCH 79046-2; Schubert, Octet in F Major for Strings and Winds, played by the Boston Symphony Chamber Players, with Harold Wright, clarinet.

NONESUCH 79065-2; Brahms, Serenade No. 1 in D, Op. 11, played by the Los Angeles Chamber Orchestra. The clarinetists' names are not listed, but probably are David Shifrin and Gary Gray.

TUDOR 702; Music of Danzi, Stamitz and Rossini, played by the Wiirttembergisches Kammerorchester, with Eduard Brunner, clarinet. Music includes the Concerto for 2 Flutes in G Major by Anton Stamitz, Rossini's Introduction and Variations for Clarinet and Orchestra and Danzi's Concertantefor Flute, Clari¬ net and Orchestra in B-flat Major, Op .41.

DENON 38C37-7038; Mozart, Quintet for Clarinet and Strings and Weber/Kiiffner, Introduction, Theme and Variations for Clarinet and String Quartet. Clarinetist is Sabine Meyer, playing with the Philharmonia Quartet Berlin.

HARMONIA MUNDI HM 90.1118; Mozart, Quintet for Clarinet and Strings and Trio for Clarinet, Viola and Piano. This is played by the French group, Les Musiciens, with Michel Portal, clarinet. I think this is my favorite recording of this music. Portal plays expressively with a marvelous, solid tone, and the ensemble is outstanding.

CHANDOS CHAN 8305; Janet Hilton plays Weber, with Weber's Clarinet Concertos No. 1 and No. 2, and his Concertino.

ACCORD 149510; Schubert, Octet in F Major for Strings and Winds, played by the Camerata de Lucerne, with Urs Briigger, clarinet.

CLAVES CD-8205; Mozart, Clarinet Concerto and Bassoon Concerto, Thomas Friedli, clarinet.

TELDEC CDT-42981; Mozart, Serenade No. 10 in B-flat for 13 Wind Instruments, played by the Vienna Mozart Winds. See Rosario Mazzeo's review of the LP version in Volume 12, No. 3 of The Clarinet.

PHILIPS 4111134-2 GH; Mozart, Sinfonia Concertante in E-flat for Oboe, Clarinet, Bassoon, Horn and Strings, played by the Academy of St. Martin-in-the-Fields, directed by Neville Marriner.

As I mentioned in past columns, Karl Leister has recorded the four Spohr Clarinet Concertos on both Compact Disc and on LP. As this is written, I still have not seen the Compact Disc set ORFEO C 088842H advertised in this country. However, the two-record LP set has been available for some time. See William Grim's review of the LP version in this issue.

I have not included Compact Discs with only one short work for clarinet, such as Schubert's Shepherd on the Rock.

Enough for Compact Discs. Here are some recent releases of long-playing records.

One new record with clarinetist Karl Leister is titled Ensem¬ ble Wien-Berhn on CBS MASTERWORKS 7464-39558-1. The ensemble consists of two members each from the Berlin and Vienna Philharmonic orchestras, and one from the Vien¬ na Symphony Orchestra. The record contains woodwind quintet music of Haydn, Danzi, Bozza, Ibert and Villa- Lobos. Another new one by Leister is Camerata CMT-4002, with Weber's Grand Duo Concertante, his Introduction, Theme and Variations (Kuffner's really), the Oberon Petite Fantasie by Klose and the Fantasy from the Opera "Der Freischutz" by Kroepsch.

Laurel Record has just released their LR-131, called Lune and Baker play Muczynski; on this record are two world pre¬ miere recordings. These are Muczynski's Time Pieces (16:20) and his Six Duos for Flute and Clarinet, Op. 34 (8:41). Of course, Mitchell Lurie is the clarinetist, while Julius Baker plays flute on the Six Duos, the composer's Sonata, Op. 14 and the Three Preludes for Unaccompanied Flute, Op. 18.

Leonarda Productions has released their LPI 122 with music for clarinet, violin and piano played by the Verdehr Trio and the Drucker Trio. Elsa Ludewig-Verdehr and Walter Verdehr play Duo by Thomas Christian David and the Verdehr Trio plays Don Freund's Triomusic. The Druck¬ er Trio, which consists of clarinetists Stanley and Naomi Drucker with pianist Blanche Abram, play Marga Richter's Sonora for two clarinets and piano. The record includes Richter's Landscapes of the Mind II for violin and piano. This record can be ordered directly from Leonarda Productions,

34 — The Clarinet

P.O. Box 124, Radio City Station, New York, NY 10101 for $7.00 plus $2.00 shipping in the U.S.A. and $3.00 shipping outside the U.S.A.

SPECTRUM SR-149 (cassette SC-249) has Joseph Hay¬ dn's Six Feldparthien Hob. 11:41-46 played by the Winds of the Zurich Tonhalle Orchestra. The clarinetists on this re¬ cording are Hans Rudolph Stalder and Heinz Hofer. Appar¬ ently this recording is the same as that on Jecklin-Disco (in Germany, FSM) 0534. NOTE: As of May 1, Spectrum noti¬ fied me that they are out of stock temporarily on the record, but have "an ample supply of cassettes" of this recording. Spectrum also has three other records of interest to clarinet¬ ists. One is SR-127, British Clarinet Quintets, played by the Lamont String Quartet, with clarinetist Ramon Kireilis. The quintets are by Coleridge-Taylor and Arthur Bliss. Another is SR-142, The Wingra Quintet Plus One, with Glenn Bowen, clarinet, with music by Janacek and Thimmig. The third is SR-166 (cassette SC-266), with Beethoven's Fidelio, arranged for winds by Wenzl Sedlak and played by the Southwest German Wind Ensemble. These recordings can be ordered from the Spectrum Division of Uni-Pro Record¬ ings, Inc., Harriman, NY 10926; cost is $5.95 each plus $1.95 shipping charge per order.

Golden Crest has two recent releases that may be of inter¬ est. One is CRDG-4206. On this record, Ted Hegvik plays clarinet on Prokofieff's Overture on Hebrew Themes for Clarinet, String Quartet and Piano and on Khachaturian's Trio for Clari¬ net, Violin and Piano. On the rest of the record, Hegvik plays saxophone on Tomasi's Le Tombeau de Mireillefor Soprano Sax¬ ophone and Tambourine and on Hindemith's Sonata for Saxo¬ phone. The other is CRS 4227, Bruce Nolan Plays Mozart. He has recorded the Quintet for Clarinet and Strings, with the Wool- sey String Quartet, and the Trio for Clarinet, Viola and Piano with Davis Barnett, viola and Robert Spillman, piano.

Former Berlin Philharmonic clarinetist Sabine Meyer has recorded Weber's Clarinet Quintet on EMI-England EL 2702201. The record also contains Baermann's Adagio and Mendelsohn's two Concertpiecesfor Clarinet, Bassetthorn, and Or¬ chestra.

On the German Schwann label, AUL 68509, has Mendel¬ ssohn's Sonata for Clarinet, his Concert Pieces No. 1 and No. 2 for Clarinet and Basset Horn, as well as Weber's Theme and Varia¬ tions, Op. 33. Franz Klein plays clarinet and Erwin Klein, basset horn. There are three other Schwann records that might be of interest. The first is AUL 53577 with music by Vinko Globokar; it has his Airs de voyages vers Tinaterieur and Vote. Michel Portal is listed as the clarinet soloist with the composer on trombone. The second has music by Heimo Erbse, with his Sinfonia giocosa and his Clarinet Trio with the Vienna Clarinet Trio. The third is AUL 68505 with clarinet¬ ist Romeo Tudorache playing Brahms' Sonata No. 2 and Hindemith's Clarinet Sonata.

Lyrita SRCS 68 lists music by Herbert Howells and con¬ tains his Rhapsodic Quintet for clarinet and strings with clari¬ netist Thea King and the Richards Ensemble. The record also has Howells' Piano Quartet in A Minor and his Fantasy String Quartet.

A French recording, Charlin CCPE 2, has Henri Sau- guet's Divertissement de chambre for flute, clarinet, viola, bas¬ soon, and piano. This record includes Sauget's Les Animaux et leurs hommes, Neiges and Trios duos. Clarinetist is Henri

Diose. Another French recording, Cybelia CY 668, has music for

clarinet and harp, with Gabriel Sauvaire, clarinet and Catherine de Preissac, harp. These include Aubert Leme- land's Capriccio Op. 43 for Clarinet and Harp, the Sonata for Clarinet and Harp by Jean-Michel Damase and Apres by An- toine Tisne. Both these labels are available from Qualiton Records, 39-28 Crescent Street, Long Island City, NY 11101.

Qualiton also has a budget line of cassettes for a list price of $4.98. Among the releases is John Denman's recording of English Wind Music, Concert Artists TC 038, with music by Bax, Stanford, Ireland, and Hughes. I understand that more such cassettes may be forthcoming. I just wish that some of the major companies would reissue some of their older re¬ leases on cassette; at least the idea sounds practical.

The March 1985 Schwann record catalog lists Nonesuch 79077 with David Shifrin, clarinet and the Los Angeles Chamber Orchestra playing Busoni's Concertino for Clarinet and Small Chamber Orchestra. It also lists on this record Hinde¬ mith's Kammermusik No. 1, probably played by the same group.

One more thing — for those of you who received three cat¬ alogs from Musical Heritage Society in December, and who have not received anything since then — they are not out of business. According to them, if an order had not been placed by a customer during the previous month or so, then their computer deleted those customers' names.

David Glazer Editions

L. Spohr: Fantasy & Variations, Op. 81 For Clarinet and Piano

(Also with band accompaniment) SOUTHERN MUSIC CO.

G. Rossini: Introduction, Theme & Variations For Clarinet and Piano

Also with band accompaniment OXFORD UNIVERSITY PRESS

W.A. Mozart: Divertimento K. 439B (K.A. 229) For Oboe, Clarinet and Bassoon

Originally for two clarinets and bassoon) OXFORD UNIVERSITY PRESS

I. Pleyel: Duets for 2 Clarinets Elementary Level — Books 1 and 2

OXFORD UNIVERSITY PRESS

G.F. Handel: Sonata Op. 1, No. 8 in C minor For Clarinet (Oboe) and Piano

ASSOCIATED MUSIC PUBLISHERS (G. Schirmer)

These editions may be ordered and purchased through your local music store or music dealer.

DfiVID GLflZER 25 Central Park West #18R, New York, NY 10023 (212) 757-1029

The Clarinet — 35

Record reviews

By Lyle Barkhymer, Otterbein College

American Contemporary Music for Clarinet and Piano, Michael and Beveridge Webster, CRI 374 Stereo.

This recording of clarinet music written since the fifties in¬ cludes Donald Martino's A Set for Clarinet, Verne Reynolds' Four Caprices, Michael Webster's Five Pieces for Clarinet Solo, and Louise Talma's Three Duologues. All are worthy of our at¬ tention and are played with elan and immense musicality by Webster.

Martino's A Set for Clarinet may be the most well-known composition on the recording; it is the oldest, having been written in 1954. It poses no problems for Webster's prodi¬ gious technique. He negotiates the wide register leaps with ease, and even if occasionally the highest notes are a little out of control, the sense of dash and excitement he puts into his playing carries the piece.

Referring to Verne Reynolds' Four Caprices, the jacket notes quote the composer as saying that "the Caprices con¬ centrate on several things the clarinet seems to do well, such as entering and leaving very softly, slow smooth slurs, rapid¬ ly slurred notes, and arpeggiated cadenza-like figure." All of these ideas are explored thoroughly and brought to us in near perfection in Webster's playing. Especially admirable were the unerringly even fast-note runs and the exalted lyri¬ cism which the clarinetist demonstrated.

Webster's own Five Pieces for Solo Clarinet enchant the listener with variety, musicality, and novelty. These are some of this writer's favorite works. (They have been sent as far as to the Soviet Union as gifts.) In the fiendishly difficult medium of composition for solo clarinet they succeed where others fail to hold an audience. The quarter-tone piece comes off well; the "perpetual motion" is breathtaking in this per¬ formance.

The Three Duologues of Louise Talma were written for Webster's 1968 Town Hall recital. They are composed in the 12-tone technique, but do not sound antiseptic or artificial, as lesser works in the idiom often do. There is passion, mel¬ ancholy, restlessness, and intensity here.

In the Reynolds and Talma pieces Webster is fortunate to have the sensitive and skillful assistance of his father, the well-known pianist Beveridge Webster. All in all, this is a really fine performance of interesting and valuable music of our time which belongs on all our record shelves, both insti¬ tutional and personal.

ANTON REICHA Wind Quintets, Op. 88 Nos. 5 and 6, MHS 49627.

The Ars Nova Quintet, resident at the University of South Florida, plays two of Reicha's twenty-four works for the standard woodwind ensemble on this disc from the Musical Heritage Society. Many good points come immediately to mind upon hearing the record: compact, intelligent ensem¬ ble playing; excellent intonation; the attractive, slightly dark-timbred sound of clarinetist Noel Stevens. The notes on the record jacket by Stevens are also one of the good points of the production, lively and readable, informative, and schol¬ arly. Yet one must admit that the overall effect is somewhat disappointing. Primarily this is due to a certain sameness in dynamic effect and a lack of intensity in the shaping of phras¬ es. The oboe sounds noticeably "distant," and one wonders if recording processes may be at the root of this and some other aspects of the recording's problems, such as limited

dynamic range. No engineer can be blamed for the embarrassing lapse of

ensemble playing in the final chords of the finale of Op. 88, No. 5, nor for the too often unfocussed flute tone, nor for the lack of rhythmic stability as the syncopated passages in the finale of the first quintet on the disc edge ahead of the beat.

The second selection, Op. 88, No. 6, is more successful, particularly the melting, cantabile phrases in the slower sec¬ tion. The really sparkling allegro finale comes off very well. Is some of the credit also Reicha's? Is this a stronger piece mu¬ sically than the first? Very possibly.

Overall, the listener is left with the impression of a good group not especially well-served by or well-presented on this recording. It would be nice to hear the Ars Nova Quintet live because one has the feeling that they would live up to a musi¬ cal standard that this disc only hints at.

By Henbert Haase, Wolfenbuttal, West Germany

DER HIRTAUF DEM FELSEN Lieder von Schubert, Lachner, Kalliwoda, und Spohr. Schubert, Der Hirt auf dem Felsen, Op. posth. 129; Lachner, Seit ich ihn geschen, Op. 82, and Auf Fliigeln des Gesanges; Kalliwoda, Heimatlied, Op. 117; Spohr, 6 deutsche Lieder, Op. 103. Helen Donath, Soprano; Dieter Klocker, clarinet; Klaus Donath, piano. ACANTA 40.23.608.

That the clarinet conforms in an ideal way with the human voice (the latter being a model for clarinet playing in general) is not only a theoretical knowledge formulated in older clari¬ net instruction books but is documented by numerous works for the voice (mostly soprano), clarinet, and piano. Especial¬ ly the romantic composers paid a specific attention to this ensemble. Those works require both depth of expression and virtuosity, both of which are vital elements in romantic pieces. No other instrument suits better here as an obligato part than the clarinet.

The earliest and most famous composition in question, Schubert's Op. 129 (1828), functions as a motto of all the Lieder recorded here which deal chiefly of longing, love, and the idyllic nature in springtime.

The ingenious compositions of Schubert's friend, Franz Lachner, Seit ich ihn gesehen (text by Chamissoy) and Auf Flii- gein des Gesanges (text by Heinrich Heine), composed around the year 1847, are absolutely independent and expressive songs with a concertante clarinet part, even if Schubertian tones are not to be ignored.

Johann Wenzel Kalliwoda, the composer of the Heimatlied, has fallen into oblivion today. He was born in Praha in 1801 and conducted the court orchestras in Donaueschingen from 1822 until his death in 1866. During his life he was famous because of his violin works and his symphonies. In Heimat¬ lied, composed in 1831, we see him as a skilled musician who only lacks a bit of individuality. In spite of their popular ex¬ pression, some melodic turns of this composition are too flat and complacent.

Louis Spohr's famous 6 deutsche Lieder, Op. 103, on texts of various poets can't be appreciated in the right way without the knowledge about the friendship with clarinet virtuoso Hermstedt. Thus the virtuosity of the clarinet part can be ex¬ plained, but beyond that there's much expression related to the text in these songs.

36 — The Clarinet

The interpreters Helen Donath, Dieter Klocker, and Klaus Donath, of whom only Klaus Donath has no real chance to show his virtuostic skill, let the record become a real treat. Helen Donath performs the Lieder with such a slender and brilliant voice, so much grace and intimacy but always natural performance, that you don't want to stop lis¬ tening. Nothing seems artificial. Dieter Klocker is her out¬ standing partner who thoroughly enjoys every nuance of his part with a clear and cantabile tone. It is useless to emphasize that Klocker plays all difficult passages technically perfect.

This is an exciting record, and not only for clarinetists!!

By Keith Lemmons, The University of New Mexico

Giacomo Meyerbeer, Gli Amori di Teolinda, Cantata for Soprano, Clarinet, Orchestra and Chorus. Mariana Nicoles- co, Soprano; Dieter Klocker, Clarinet; Ludwigsburg Fes¬ tival Orchestra and Chorus; Wolfgang Gonnenwein, Conductor. PROARTE Digital PAD 186. Distributed by Intersound, Inc., 14025 23rd Ave., North, Minneapolis, MN 55441.

It is interesting to note that this is the second time in a short span of time that this particular work has been re¬ viewed. Jerry Pierce enlightened us with a review in the Fall issue, Vol. 12, No. 1, of The Clarinet, although with different soloists and performers. I am enchanted by this extraordin¬ ary work and wonder why I never knew of its existence earlier.

Mariana Nicolesco, soprano, is splendid in her portrayal with a truly emotional and expressive performance through¬ out the recording. Dieter Klocker enriches us with an out¬ standing display of technical finesse and substantial musical energy. His artuous task of holding the fierce passion and crystalline technique in equipoise makes the clarinet very nearly the real star of the story. The orchestra and chorus give us a shining example of exuberance, precision, and sen¬ sitivity.

Although the work is thirty-five minutes in length with eight movements, I was enthralled enough so that it became necessary to play the record a second time. Since the fre¬ quencies of performance of this cantata are few and far be¬ tween, I find it heartening that in just a short period of time there have been two fine and distinguished recordings made available. By becoming familiar with this work I hope clari¬ netists find a means to participate in such a fine, yet gigantic, undertaking.

This is indeed a beautiful work: eclectic, melodramatic, and effective. The jacket notes are detailed, informative, and include a libretto. The recording has optimum clarity and fi¬ delity. It is an excellent release which deserves the attention of clarinetists and listeners alike.

By Patricia Kostek Huebner, University of Missouri, Kansas City

Musik aus der Blutezeitdes Bassetthorns (Music from the Golden Age of the Basset Horn), Jecklin-Disco 560. Hans Rudolf Stalder, basset horn; Zsuzsanna Sirokay, piano; Ursula Holliger, harp; Andreas Schmid, cello.

The basset horn, that enigmatic orphan of the clarinet family, has been given new life through the research and de¬ dication of Hans Rudolf Stalder. In a new recording on the

Swiss label Jecklin, Stalder has revived three works from the first three decades of the nineteenth century, a time when the basset horn was enjoying its greatest popularity.

The central work on the disc is Franz Danzi's Sonata in F (1823), Op. 62, for basset horn and piano. Stalder displays a rich tone in the opening Larghetto, lyrically spinning out phrases typical of this composer and tossing off turns with ease. He maintains the energy throughout the following Alle¬ gretto while tastefully placing leaps from altissimo to basso. The alberti bass patterns were lent a delicate touch by pianist Zsuzsanna Sirokay, who provided an equally energetic, yet pliable accompaniment. Stalder displays the singing capabil¬ ities of this "tenor" clarinet in the Larghetto sostenuto, and the artists bring off the compositionally weak Allegro vivo with surprising success. The meaty low C that ends the movement reverberates well after the piece ends.

Also included is Heinrich Backofen's two-movement Con- certante, Op. 7, for basset horn, harp and continue, published by Breitkopf and Hartel in 1800. The Allegro contains ex¬ tended passages of unisons and octaves between the two solo instruments, the cellist providing the continue. Harpist Ur¬ sula Holliger adds a charming quality to this rather light work with Stalder imitating the light touch of the harp, blending when necessary and never overpowering. Except for an isolated plunge into the basso range via an arpeggio, this piece stays within the middle range of the basset horn.

By far the most virtuosic piece on the album is Alois Beer- halter's Variations on "Im tiefen keller sitz ich hier, " for basset horn and piano. An accomplished clarinetist, Beerhalter held the post of principal clarinet and basset horn in Stuttgart at about 1830. This piece, written by the "Paganini of the bas¬ set horn," allows Stalder to display his technical prowess. He easily negotiates wide leaps and mordent-laden arpeggios in the variations following the theme. Sirokay's approach to the piano is a bit on the aggressive side, her touch at times sounding harsh. However, Stalder's legato performance keeps the variations flowing. The production of this album not only promotes the acceptance of the basset horn in cham¬ ber music, but also leaves the listener with a desire to hear more of this soloist.

An added bonus to this recording is a detailed photograph of an 1830 Stengel basset horn on the front cover.

By John W. Kuehn, Indiana University of Pennsylvania

Music for Viola and Woodwinds. Sapieyevski: Concerto for Viola and Winds. Hoist: Terzetto. Plog: Four Miniatures for Viola and Wind Quintet. James Dunham, viola; Westwood Wind Quin¬ tet; David Atkins, clarinet. Crystal 5647.

Originally composed for a larger wind ensemble, the single- movement Concerto for Viola and Winds was rewritten for viola, wind quintet, and percussion by the composer. Sapie¬ yevski describes the work as "a constant dialogue between the solo and the winds, ending with a virtuosic pulsating coda." This quintet performs its role with ease and the diverse demands of the clarinet part are handled well by David Atkins, especially the frequent, rapid staccato pas¬ sages.

Written in 1925, Hoist's Terzetto is a fascinating tritonal piece for flute, oboe, and viola.

Four Miniatures by Anthony Plog was composed for James Dunham and the Westwood Wind Quintet in 1983. The

The Clarinet — 37

composer writes that the piece "is intended to be a set of short pieces enjoyable for performers and audiences alike." The first and third movements call for excellence of tone quality, blend, and subtle phrasing. The second and fourth movements require considerable technique and rhythmic competence. David Atkins can be heard to meet the de¬ mands skillfully, especially in the last movement where each instrument is briefly featured in a fast, fugue-like passage.

By Jerry Pierce

Richard Stoltzman, Klarinette. Side one: Saint-Saens, Sonata, Op. 107 (18:22); Honegger, Sonatine (7:07). Side two: Pou- lenc, Sonata (14:54), Debussy, Petite Piece (1:36) and La Fille aux cheveux de lin (3:05). Irma Vallecillo, piano. Telefunken 6.42614 AW. (Available from Intersound, Inc., 14025 23rd Ave. North, Minneapolis, MN 55441.

These performances of Richard Stoltzman were recorded in 1977 (or before). His interpretation of the four French composers shows much sensitivity with musical phrasing, controlled dynamics, and a technique that has a special vir¬ tuosity. Only in the first movement of the Saint-Saens does this reviewer take issue on occasion with Mr. Stoltzman's vi¬ brato at the ending of some notes. Perhaps this movement was recorded at a different time or there was some experi¬ mentation with the speed and type of vibrato. Whatever the case, at times the vibrato resembles that used by Delecluse in his recording of the same work some years ago (London SL 1097). I would be quick to add that Mr. Stoltzman makes ex¬ cellent use of his vibrato elsewhere in this album and it is this inconsistency that left me puzzled.

I suspect that Stoltzman is now a victim of his own publici¬ ty. Critics have used such superlatives when describing his playing that clarinetists may be, for the most part, overly cri¬ tical now. Whether Stoltzman can command the following that Kell or Louis Cahuzac did remains to be seen, not to mention names like Leister, Deplus, Stalder, etc., who are also recording the solo repertoire and who are held in the highest esteem by many players currently.

Being "on top" is hard enough, but getting there is even harder, Madison Avenue not withstanding. Stoltzman cer¬ tainly deserves to be counted as one of the finer performing artists currently on the scene; this album is worth hearing. As we have come to expect from the German record compan¬ ies, the jacket notes are as excellent as the pressing. I do note though that it is mentioned that Debussy orchestrated the Petite Piece and I believe this is not the case. Artie Shaw's ver¬ sion that appeared on the Columbia masterworks (ML 4260) with orchestra was arranged by Hershey Kay. So far as I know, no orchestration by Debussy has ever come to light.

By James Loomis

Rhapsodic. Francis Poulenc, Sonata for Clarinet and Piano; Maurice Ravel, Piece en forme d' habanera; Claude Debussy, Premiere Rhapsodie; Camille Saint-Saens, Sonata for Clarinet and Piano, Op. 167; Albert Roussel, Aria; Darius Milhaud, Duo Concertant, Op. 351. Janet Hilton, clarinet; Keith Swallow, piano. Chandos-ABRD 1100 (digital). If this record is not available locally, it can be ordered through Harmonia Mun- di, P.O. Box 6453, Los Angeles, CA 90064. It was made in

the Church of St. George the Martyr, Bloombury, London, in April 1983.

The beautifully expressive and pervasive tone quality and superb musicianship of British clarinetist Janet Hilton are the high points of this record. Rarely one hears a spread quality in a forte altissimo tone or a bit of over-reediness in a chalumeau tone of the same volume, but these are minor points. Her tonguing and pitch control are consistently ad¬ mirable, and there is distinctness and total clarity in her crisp and well-etched lines.

Keith Swallow acquits himself as a congenial and sensitive musical partner. At times the clarinet appears to be project¬ ing with greater clarity than the piano perhaps due to the ambience of the church. Still, the balance between the two is generally acceptable.

The Poulenc is played with the effortless spontaneity, polish, and urbanity required and the clarinetist demon¬ strates her fine tonal control of pianissimo even at extreme pitch levels. Particularly beautiful is the soft entrance at the opening of the Romanza.

Piece en forme d' habanera was originally a Vocalise (1907), and was transcribed for clarinet by Gaston Hamelin. This is a captivating performance of the well-known melody with the echo effects and tapered release in the clarinet being en¬ hanced by the reverberation in the church.

In the Debussy the wide spectrum of moods, including the mysterioso element, are captured imaginatively; again many of the beautiful effects and nuances are assisted by the acous¬ tics of the church. Janet Hilton has the stamina to maintain the great control so necessary for a satisfying interpretation of this piece; it builds masterfully to the climax at the end. The only and very slight flaw is near the end (mm. 201-202) where the loud first line "e" and surrounding tones become rather reedy.

Saint-Saen's Sonata is nicely done and even the Lento, though difficult to interpret, is imbued with interest in spite of the small pitch compass of the melodic line. The spirited Finale (Molto allegro) is fluent, yet well phrased and paced.

This version of Aria is from the second of two vocalises dat¬ ing from 1927-28. Short (2:53) and simple, this piece con¬ tains a charming legato melody tinged with chromaticism which fits very well the "singing" tone of the clarinetist.

In the Milhaud the vivaciousness of the outer sections of the single movement are well contrasted with a most expres¬ sive middle area.

There are many exquisitely performed works here for the cost of one digital record. It is recommended, and should be of especial interest to those who own first-rate recordings of very few of these or who would appreciate hearing Hilton's fresh approach.

By William E. Grim, St. Andrews Presbyterian College

Lois Spohr, Die Klarinettenkonzerte 1-4. Karl Leister, clarinet, with the Radio Symphony Orchestra Stuttgart, Rafael Friih- beck de Burgos, conductor. Orfeo Digital Recording S 088 H © 1984. (Available from Harmonia USA, P.O. Box 64503, Los Angeles, CA 90034, [213] 559-0802.)

This is, without a doubt, the finest recording of the Spohr concerti currently available. Karl Leister is superb and dis¬ plays complete mastery of all tonal, interpretive, and techni¬ cal aspects of clarinet playing. His artistry is an inspiration

38 — The Clarinet

for clarinetists of all nationalities. For too many years clarinetists have denigrated the impor¬

tant works of the early romantic period, particularly the compositions of Weber and Spohr. Although Weber has made a comeback of sorts recently, Spohr's clarinet works have not fared so well. Hopefully this recording will encour¬ age clarinetists to rediscover these magnificent compositions.

One of the reasons for the neglect of Spohr may be the very poor quality of the piano transcriptions of his orchestral accompaniments of the concerti. In these versions the clari¬ net tends to dominate to such an extent that they sound at times like mere technical exercises. The orchestration of these works, however, presents a texture in which the solo clarinet has a greater range of expression and flexibility. Leister, de Burgos, and the Radio Symphony Orchestra Stuttgart perform them in their original glory, presenting as perfect a recording as is technically and artistically possible.

Rudolf Kubfn, Koncert pro Klarinet. Valter Vitek, clarinet with the Jana£ek Philharmonic Orchestra Ostrava, OldHch Bohuhovsky, conductor. Panton 8110 0289 © 1982.

Rudolf Kubin (1909-1973) was a very talented and prolific Czechoslovakian composer. His Clarinet Concerto (1940) is an exceptionally fine and difficult composition; if any work de¬ serves to be called the "Nielsen Clarinet Concerto No. 2," this is it. Although Jana£ek and other Czechoslovakian com¬ posers are listed as the major influences upon Kubin's com¬ positional style, it is obvious that Kubin was very aware of

Nielsen's work because of the startling similarities between both composers' clarinet concertos. Even the cadenzas dis¬ play this stylistic influence.

The concerto is divided into three movements of approxi¬ mately equal duration. The middle movement, lento, is blues-tinged and shows many other elements of jazz. Valter Vitek is an excellent technician, but, like most middle Euro¬ pean clarinetists, uses a very abrupt manner of tonguing.

Askell Masson, Klannettkonsert. Einar Johannesson, clarinet, with the Iceland Symphony Orchestra, Pall P. Palsson, con¬ ductor. Gramm G 100 © & © 1982.

The Clarinet Concerto (1981) of Askell Masson (b. 1953) is one of the best works of its type to be composed by an Ice¬ landic composer to date. It is a very fragile one-movement work which is structured in three main sections, each of which is built around a cadenza. The clarinet line employs many multiphonics and quarter-tones, while much of the string writing utilizes tone clusters similar to those seen in the works of Ligeti and Penderecki. The fragile nature of the work is exacerbated by the frequent interplay among the solo clarinet, the flutes, and percussion instruments, especially the vibraphone and temple blocks. This very difficult work is performed very well. Einar Johannesson, the principal clari¬ netist of the Iceland Symphony Orchestra, is a first-rate per¬ former whose good tone is never adversely affected by the frequent use of multiphonics in this work.

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North American Saxophone Alliance 4 Oberlin College Conservatory of Music 29

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The Clarinet — 39

Book review

By Lyle Barkhymer Otterbein College and Columbus Symphony Orchestra

Langdon Corson, Arnold Schoenberg's Woodwind Quintet, Op. 26: Background and Analysis. Gasparro Co., Nashville, 1984.

Having previously reviewed the Oberlin Woodwind Quintet's terrific recording of Schoenberg's Quintet of which this book is a companion piece, the writer was curious indeed to see if Corson's study was on the same high level and had illuminating things to say about Schoenberg's pivotal work for winds. It is, and it does. Anyone reading Corson's book will learn a lot about Schoenberg's musical esthetics, ap¬ proach to composition in general, use of the twelve-tone system, and stylistic development. In addition, there is a comprehensive and incisive analysis of the Woodwind Quintet.

The book begins with an introduction and background which in a relatively few pages cover more of the above men¬ tioned ground than some complete theory texts. The Chart of Chronology of the compositions discussed is very helpful. There are numerous quotes from Schoenberg himself, his friendly (and not so friendly) contemporaries, and later theorists and composers which are to the point in helping to illuminate the topic.

Next comes an analysis of Schoenberg's handling of the

"set" in this piece. Corson gets through this with relative grace and ease, and although it may not be every reader's "cup of tea," he manages to elicit excitement and wonder at the spidery web of manipulation and relationship spun in the composition. The analyzed examples are included on score examples stuffed in a pocket in the back of the volume. Wasn't there some way to integrate these into the text? One wonders how long it would be before they become lost or damaged during normal library use.

The next chapter on form is also cogent and readable. The clear classical forms which Schoenberg chooses to cast the work are delineated easily and understandably. The charts of form by measure and theme help the reader follow the text with no trouble.

The Epilogue consists mostly of quotes from composer George Rochberg. Frankly, they don't seem quite so keenly thought out and incisive as Corson's own work. One could have used a summary more of Corson's own hand.

This book is highly recommended to all libraries and to anyone who cares to perform or listen to Schoenberg's Wood¬ wind Quintet with knowledge, understanding, and an aware¬ ness of the composer's world of thought and construction, and his desire for the composition to be the object of a musi¬ cal experience first rather than a specimen for disection.

Writers' Guidelines — The Clarinet

MANUSCRIPTS Manuscripts should be typewritten, double spaced on standard 8^4x11 typing paper with duplicate copies submitted. Typing on thin, onion

skin, or tracing paper is more difficult to read and therefore should be avoided. Please indent at the beginning of paragraphs. Underline any word that is to be italicized. Add any diacritical marks in their correct positions. Footnotes should be grouped at the end of the manuscript. Please leave a margin at the bottom of the page as well as at the top and sides. Copyread and correct your copy. A short biographical paragraph on the author should be included with the manuscript. Each page should be consecutively numbered with a short abbreviated title and author's name at the top of each one.

Example: page 4. Clarinets in Italy. Tones.

PICTURES Pictures should be sharp contrast black and white glossies. Color prints can be used, but usually result in poor reproduction. Pictures that

are clipped from printed publications are screened (made into little dots) so that they can be reproduced. These must be rescreened when used for another publication and are greatly reduced in quality the second time around and are therefore undesirable. Color transparencies (slides) can be utilized by having a professional photo developing lab make a black and white print from it for you. Tape MUST AW be placed on a pic¬ ture. Ideally, place your picture in a numbered envelope. Place a corresponding number on the back of the picture close to the edge and corner (occasionally the printer's camera can pick up writing on the back of a print.) On a separate sheet of paper, list your pictures' numbers and cutlines.

Example: Picture 1. Daryl Jones in concert at Miami, June, 1984. Picture 2. Daryl Jones repairing a clarinet in his workshop. etc.

ILLUSTRATIONS Illustrations should be submitted on a separate sheet of paper. Indicate in the article where the illustrations should be placed within the copy.

Example: "One should express the musical phrase line in this manner: ILLUSTRATION NUMBER 1 Thus, you will attain the desired effect."

Then, draw illustrations with black ink on white paper. India ink is the best — ball point usually skips and makes an uneven line. Artists' drawing paper made especially for India ink is ideal. Avoid tracing paper. Number the illustrations and space them so that there is enough white area around the drawings for the layout artist to cut them out without difficulty. Should the illustrations have captions, please type them separately, numbering them with the corresponding number of the illustration. Above all: BE NEA 77 Clean sharp illustrations will reproduce cleanly and sharply. Muddy, fuzzy illustrations sloppily drawn will reproduce just that way.

Following these simple guidelines will help assure that articles will look their best when published. All materials should be sent to the Editor, James Gillespie, School of Music, North Texas State University, Denton, Texas 76203.

40 — The Clarinet

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For details on the new Leblanc L-300 — Bb and A — call (800) 558-9421, toll-free. Or write to Leblanc, 7019 Thirtieth Avenue, Kenosha, Wl 53141.

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