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Florida State University LibrariesElectronic Theses, Treatises and Dissertations The Graduate School

2011

A Biographical Dictionary of Twentieth-Century American ClarinetistsTracey Lynn Paddock

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THE FLORIDA STATE UNIVERSITY

COLLEGE OF MUSIC

A BIOGRAPHICAL DICTIONARY OF

TWENTIETH-CENTURY

AMERICAN CLARINETISTS

By

TRACEY LYNN PADDOCK

A treatise submitted to theCollege of Music

in partial fulfillment of therequirements for the degree of

Doctor of Music

Degree Awarded:Spring Semester, 2011


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To my husband Grant, who has stood by my side in the face of this and many otherchallenges, and to my parents, teachers, and friends, who have supported me generouslyand tirelessly.

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ACKNOWLEDGEMENTS

I would like to acknowledge all of the teachers and mentors who have helped meon my musical, educational, and life path. To James Campbell, thank you for providing

me with a strong musical foundation, and musical and philosophical inspiration whichwill last a lifetime, and which I try to pass on to my own students. To former committeemember Eric Ohlsson, thank you for setting the comprehensive exam question that ledme to this treatise. To former committee member John Deal, thank you for urging me tomake the treatise “comprehensive.” To Howard Klug, thank you for your invaluableguidance at the onset of this journey. Thank you also to former committee memberJames Croft for your role in the early stages of my research.

Special thanks to Frank Kowalsky who, in addition to his wonderful musicalguidance and wisdom, has been patient and endlessly supportive in helping me to finishthis massive (but fascinating) undertaking.

My profound gratitude goes out to all of the clarinetists who completed andreturned my survey, making this document that much more valuable by providing futuregenerations of clarinetists with your own words.

I must express my appreciation to the librarians in the music section at the Libraryof Congress for delivering hundreds of pounds of books to me via their mysterious

elevator, and for allowing me access to the back room to dig through stacks of orchestra programs which were not even logged into the library catalog at the time. Thanks also tothe proprietors of the countless Washington D.C.-area coffee establishments in which Iset up shop for hours at a time, on a daily basis, over the years.

Thank you to fellow Florida State University Doctor of Music recipients JohnMula, Elizabeth Gunlogson, Charles Willett, and Dannene Drummond for your supportand guidance throughout this process, and to Drs. Elizabeth Matera and Susan Rider.

To my committee members Deborah Bish, Richard Clary, and Jeff Keesecker,thank you for your guidance and flexibility.

To my mom and dad, thanks for a lifetime of love and support, and for alwayshaving faith in me.

Lastly, to my husband, there are no words adequate to express the depth of mythanks for supporting me in this endeavor.

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TABLE OF CONTENTS

List of Tables ......................................................................................................................

Abstract ...............................................................................................................................INTRODUCTION ..............................................................................................................

A. Format of Biographical Sketches ..........................................................................B. Table of Abbreviations ..........................................................................................

BIOGRAPHICAL DICTIONARY......................................................................................CONCLUSION....................................................................................................................APPENDIX A: HUMAN SUBJECTS APPROVAL MEMORANDUM...........................APPENDIX B: EXAMPLE OF SURVEY SENT TO SELECTED ENTRANTS..............SELECTED BIBLIOGRAPHY...........................................................................................BIOGRAPHICAL SKETCH ..............................................................................................

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LIST OF TABLES

A. Format of Biographical Sketches..................................................................................

B. Table of Abbreviations...................................................................................................

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INTRODUCTION

The impetus for “A Biographical Dictionary of Twentieth-Century American Clarinetists” was acomprehensive examination question which required the author to write about the American clarinettradition. At the time of the examination, in the early days of the World Wide Web, as it was then morecommonly known, information on prominent American clarinetists was not as readily at one’s fingertips asit is now. Even today, culling this information from online searches would take a great deal of time andeffort, and one would have to question the accuracy of some of what was found. Researching theexamination topic, at that time, required poring over volumes ofThe Clarinet andClariNetwork journals,consulting Pamela Weston’s invaluableClarinet Virtuosi books, scanning the more primitive version of theinternet, and cobbling all of this information together, along with information for four additional research papers to be completed in just five days. Not yet available was Carol Anne Kycia’s now-publisheddissertation, Daniel Bonade: A Founder of the American Style of Clarinet Playing , nor had the excellentdoctoral treatises of Elizabeth Gunlogson (“Stanley Hasty: His Life and Teaching”) or Shannon Thompson(“A History and Analysis of the Philadelphia School of Clarinet Playing”) been written. Undoubtedly,these three authors, and others who have since written on this topic, also noticed the profound gap incurrent research focusing on the subject of the American clarinet tradition.

The original intent of this biographical dictionary was to provide a discussion of the American

clarinet tradition during the twentieth century as a prelude to the biographical entries, which were to begathered from all volumes ofThe Clarinet andClariNetwork journals. One committee member suggestedthat the author not limit herself to these two resources, but to cast the net wider, and make the document atrue and inclusive dictionary, not merely a survey of prominent American clarinetists found in these two journals. Given this worthy recommendation, which vastly expanded the scope of the project, and therecent, high-quality publications concerning major elements of the American clarinet tradition of thetwentieth century listed above, this document will focus completely on the clarinetists who have played(and continue to play) the most significant roles in this tradition. While there are discussions pertaining tothe American clarinet tradition within some of the biographies themselves (see the entries of Joseph AllardEarl Bates, Simeon Bellison, Daniel Bonade, Luigi Cancellieri, Gino Cioffi, Stanley Drucker, Harry Gee,Anthony Gigliotti, Gaston Hamelin, Ramon Kireilis, Gustave Langenus, Elsa Ludewig-Verdehr, MitchellLurie, Eric Mandat, Robert Marcellus, Rosario Mazzeo, Robert McGinnis, Ralph McLane, DonaldMontanaro, Timothy Perry, Lillian Poenisch, Jeannette Scheerer, Joseph Schreurs, Manuel Valerio, DavidWeber, Alexander Williams, Harold Wright, and Michelle Zukovsky for historical commentary), the authorwill refer the reader to the aforementioned publications for a more in-depth history, as well as Cecil Gold’s publication,Clarinet Performing Practices and Teaching in the United States and Canada .

After determining that the dictionary was to be very broad in scope, the next step was to determineelements of inclusion. Confining musical activities to those occurring within the twentieth century was thefirst means of narrowing down potential entrants, and further limiting entrants to American classicalclarinetists and teachers would narrow the field even more. There are complications inherent in all of thesedeterminants, which the author has exercised some latitude in working around.

The twentieth-century time-frame was intended to include only activities which occurred between1900 and 2000; if a clarinetist assumed a new position on January 1, 2000, no mention of it was to bemade. The dictionary was meant to offer a frozen-in-time snapshot of the twentieth century. If thedocument had been finished within a few years of its starting date in 1998, this guideline would have beenmuch easier to observe, but more than a decade later, it is difficult to ignore the significant changes thathave occurred in American orchestras and music schools in the early years of the 21st century. Thus, whilemost entrants’ musical activities are limited to the twentieth century, in cases where nationally significantturnovers have occurred, the author has used her discretion in alluding to these changes. For example, ifthe reader sees that an entrant’s penultimate orchestral or teaching position went up to the year 2000 or perhaps beyond (notated as 2000+), their subsequent position will be notated as “current,” which means the position began after the year 2000.

Clarinetists active during the first half of the century who may fall at the fringes of these time parameters have sometimes been included on the premise that their careers may have extended beyond thelimited information found on them, and that there was much less documentation available on these earlierclarinetists of the twentieth century. If they could be found in print, they must have had some significance

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during that time in their region. Similar flexibility has been given to those active in less-populatedAmerican states, in the interest of even geographical representation.

Defining an entrant as an “American clarinetist” would also seem to be a simple classification, butthere are indistinct lines here as well. During the first quarter of the twentieth century, conductors such asStokowski, Mengelberg, Damrosch, and Toscanini were in the habit of recruiting European clarinetists tocome to the U.S. to perform in their orchestras. While foreign-born, these clarinetists are most oftenconsidered to be American clarinetists, as they either a spent significant amount of their careers in theUnited States, or made such an impression on the evolution of the American clarinet tradition that onecould not help but think of them as American. Examples of these prominent clarinetists are SimeonBellison, Luigi Cancellieri, Gaston Hamelin, and Gustave Langenus, among others.

Similarly, throughout the course of the century, foreign-born clarinetists have taken performanceor teaching positions in the U.S. and have become “adopted” as American clarinetists. Such clarinetistshave enmeshed themselves into the American clarinet tradition and have been influential on the evolutionof this tradition through their playing and/or teaching. Examples of these “adoptees” are James Campbell,John Denman, Gervase de Peyer, and Reginald Kell, among others.

The classification of “classical” clarinetists and/or teachers refers to classical clarinetists who hold(or have held) positions in AA- or A-rated American orchestras (as rated and listed in Musical America,1998 edition), and/or hold (or have held) positions in American college-level music schools orconservatories with 20 or more full-time music faculty (as listed in theCMS Directory of Music Facultiesin Colleges and Universities, United States and Canada , examined between 1968-1998). Where possible,surveys (see Appendix B) to collect biographical and career information were mailed to these clarinetists,through the assistance of a Florida State University Dissertation Research Grant, with an impressivelystrong response from almost 250 American clarinetists. Clarinetists who have been primarily active in“non-classical” genres, such as jazz or Klezmer, but have had classical training and/or have been active tosome extent in a classical capacity have also been included. These “crossover” clarinetists include EddieDaniels, Buddy DeFranco, Al Gallodoro, Benny Goodman, and Artie Shaw, among others.

While the author acknowledges, from firsthand experience, that thousands of highly talentedclarinetists have served and continue to serve in American military bands, this outstanding group ofmusicians has not beensingled out for inclusion in this document. Many clarinetists (including quite prominent ones) who have served in American military bandsdo appear in the dictionary, but this is nottheir primary basis for inclusion. Some prominent clarinetists who have served in American military bandsinclude Earl Bates, Ignatius Gennusa, Anthony Gigliotti, David Glazer, Frank Kowalsky, Robert MarcellusRonald Phillips, and Harold Wright, among others. American military band clarinetists have kept and

continue to keep very good company.In the category of “included at the author’s discretion” are clarinetists who have appeared inrelevantWho’s Who publications, were listed as “Prominent Clarinetists” byThe Clarinet during a series ofarticles from the 1950s, have moved into a position of prominence just beyond the end of the twentiethcentury (see explanation above), have been active as clarinetists of note outside of the traditional sense of“classical” performance (i.e., those who are taking clarinet performance in new directions), have beenactive primarily as soloists, chamber musicians, and/or recording artists, thereby sometimes falling outsideof the parameters, and/or those who may otherwise fall outside of the parameters but have made an impacton the American clarinet tradition.

In addition to examining various editions of the CMS and Musical America directories, data wasalso compiled through a survey of clarinet- and woodwind-related music journals, variousWho’s Who publications, collections of orchestral programs (housed in the Library of Congress), and histories ofAmerican musicians and orchestras. Books which were very important to this research include the

excellent Pamela WestonClarinet Virtuosi collection, Richard Gilbert’s volumes of annotated clarinetdiscographies, and Bonnie Walker’s earlier publication onclarinet recording artists. Also key to learningmore about different aspects of the American clarinet tradition were the dissertations or treatises of CecilGold, Elizabeth Gunlogson, Jesse Krebs, Carol Ann Kycia, and Shannon Thompson, articles by JohnCipolla, Paul Drushler, James Gholson, James Gillespie, Vance Jennings, Loren Kitt, and Shirley Mackie,and collections of articles by Harry Gee, Lee Gibson, Anthony Gigliotti, George Waln, and David Weber.The above resources appear not only in the relevant individual entrant’s Bibliography, but also in theSelected Bibliography at the end of the dictionary.

Additionally, reliable internet resources were used, in most cases as a supplement to other bibliographic materials, but in some cases, where no other information could be found, as primary

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TABLE A: FORMAT OF BIOGRAPHICAL SKETCHES

Each entry includes a section or sections of biographical data and professional activities, followed by anoptional section containing commentary about and/or from the entrant. Most entries conclude with aselected bibliography which points the reader toward resources where they may find more detailedinformation on the entrant. When no bibliography is provided, the information within the biography(usually very limited in these cases), was derived either from information found within other entries in thedictionary, or from orchestral programs, which often provided only lists of personnel. Any capitalizednames found within an entry also appear as entrants in the dictionary. In the interest of clarity, an entrymay be in the form of one “paragraph” or several, depending on the amount of information found on theentrant. Below is a general template for the biographical sketches, with some variation occurringdepending on available information on each entrant.

Blayman, Herbert S. B. Jan. 25, 1921 (Johnstown, PA); d. Jan. 2, 2005.1 Began music studieson sax before switching to clarinet. Grad: Juilliard (1942) with ARTHUR CHRISTMANN; Army SOM(1944). Additional clarinet studies with AUGUSTIN DUQUES and ERIC SIMON.2 Former clarinetist:Goldman Band; Radio City Music Hall (Clarinet/Sax); Utah Symph (Principal: 1948-49); MetropolitanOpera Orch (Principal: 1950-81).3 Was active as a jazz/dance band musician (early in career), recitalist(incl perfs at ICA conferences), and recording artist (with the Metropolitan Opera Orch).4 Former facultymember: Univ of Utah (Adj Prof: 1948-49); Manhattan SOM (Adj Prof: for approx. 20 years); TrentonState Coll (Adj Prof: for 20+ years); Interlochen Arts Camp (1965); Univ of Michigan (Pr of : 1982-83).5 Other positions/activities: was a respected craftsman of mouthpiece and instrument stands.6 Memb: ICA.7 Hon: Juilliard Schol.8 Plays on: Buffet clarinets; BLAYMAN mouthpiece; Vandoren reeds; Wunderlich bass clarinet; uses BLAYMAN clarinet stands.9 Students include: Daniel Carter, PETER COKKINIAS,Herbert Dregalla, Lynn Fryer, ROGER GARRETT, JULIA HEINEN, Janet Johnson, Gene Keyes, KEITHLEMMONS, WILLIAM MCCOLL, Ruth McDonald, Don Mokrynski, Donna Nossett, Chris Pedersen,DAVID SHIFRIN, LAWRENCE SOBOL, STAN STANFORD, Lee Walkup, Charles Yassky, DOWYOUNG JR., GREGORY YOUNG.10

Herbert Blayman noted that both of his major teachers, A. CHRISTMANN and A. DUQUES, “. . were exceptional. I was honored and most fortunate to have studied with those two artists.” He added, “Iwas extremely lucky to have had a successful and illustrious career as a musician. The satisfaction of performing with such great musicians and artists for so many years was worth all of those countless hours

spent in a practice room. We did make great music.” (Blayman/Paddock 1998) In addition to his career asa performer, Blayman also enjoyed a successful career as a mouthpiece craftsman and maker of variousother clarinet equipment.11

Bib: “About Herb Blayman.” Blayman Music. http://www.blaymanmusic.com/about.html(accessed February 15, 2011); Blayman, Herbert S., to Tracey L. Paddock, Tallahassee, FL, May 29, 1998;Leeson, Daniel. “An Interview with Herbert Blayman.”The Instrumentalist 3 (November 1975): 59-65;Stewart, Robert. “A Conversation with Herbert Blayman.”The Clarinet 10 (Summer 1983): 14-16.12

1 Dates and/or locations of birth/death2 Educational information, including degree name, name of school, year degree received, name(s) ofteacher(s), additional study information3 Professional positions held as clarinetist, including name of ensemble, position title, dates position held4 Additional performance-related activities, including name of ensemble, dates position held, premiereand/or broadcast performances, etc.5 Teaching activities, including name of school, position held, dates position held, additional teachinginformation (publications, etc.)6 Additional musical and/or non-musical activities of note (including hobbies, areas of interest, etc.)7 Memberships held8 Honors, awards, achievements9 Equipment used10 Partial list of students (listed by entrant in survey and/or found via brief internet search)11 Comment section (may include comments from or about the entrant)12 Selected bibliography

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TABLE B: TABLE OF ABBREVIATIONS

AAUP: American Association of University ProfessorsABA: American Bandmasters AssociationAcad: Academic, Academy

Admin: Administration, AdministrativeAFB: Air Force BaseAFM: American Federation of MusiciansActg: ActingAlt: AlternateAMS: American Musicological SocietyApprox.: approximatelyAS: Associate of ScienceAssn: AssociationAssoc: AssociateAsst: AssistantAux: AuxiliaryB.: born

BA: Bachelor of ArtsBass: bass clarinetBDA: Band Directors AssociationBib: BibliographyBM: Bachelor of MusicBME: Bachelor of Music EducationBS: Bachelor of ScienceBSME: Bachelor of Science (Music Education)C. or c.: circaCAN: CanadaCASS: Clarinet and Saxophone Society of Great BritainCBC: Canadian Broadcast CompanyCBDNA: College Band Directors National AssociationCD: compact discChmn: Chairman/ChairwomanCincinnati Conserv: Cincinnati College Conservatory of MusicCMA: Chamber Music AmericaCo.: CompanyColl: CollegeComp: compositionConserv: Conservatory (of Music)Corp.: CorporationCUNY: City University of New YorkD. or d.: Date of death, or known to be deceased if no date followsDept: DepartmentDipl: DiplomaDiss: dissertationDiv: DivisionDM: Doctor of Music, Doctor of Musical ArtsEd: Editor, EducationElem: ElementaryExec: ExecutiveFt: FortGen: GeneralGrad: GraduateHist: History

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Hon: Honors/Awards/Etc.HS: high schoolICA: International Clarinet Association (formerly International Clarinet Society)IDRS: International Double Reed SocietyImprov: improvisationIntl: InternationalIOM: Institute of MusicInstit: InstitutionInterlochen: Interlochen Arts Camp (formerly National Music Camp)Juilliard: Juilliard School of MusicLect: LecturerLit: LiteratureMA: Master of ArtsMEA: Music Educators AssociationMemb: memberMENC: Music Educators National Conference--verifyMFA: Master of Fine ArtsMgr: ManagerMS: Master of ScienceMt: MountMTA: Music Teachers AssociationMTNA: Music Teachers National AssociationMus: MusicMus Ed: Music Education NACWPI: National Association of Woodwind and Percussion Instructors NAJE: National Association of Jazz Educators NARAS: National Academy of Recording Arts and Sciences NASM: National Association of Schools of Music Natl: National NEA: National Endowment for the Arts NEH: National Endowment for the Humanities No.: Number NPR: National Public Radio

NYC: New York CityOberlin Conserv: Oberlin College Conservatory of MusicOrch: Orchestra, OrchestralOrg: OrganizationPed: PedagogyPerf: Performance, PerformingPerf Artist: Performing ArtistPerf Cert: Performers CertificatePhD: Doctor of PhilosophyPhil: PhilharmonicPrep: PreparatoryPres: PresidentProf: Professor

PT: Part-timeRecip: RecipientRep: RepresentativeRes: Residence, ResidentSax: SaxophoneSchol: ScholarshipSecr: SecretarySOM: School of MusicSub: SubstituteSUNY: State University of New York

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Symph: Symphony, SymphonicTanglewood: Boston University/Tanglewood Institute and/or Berkshire Music CenterTech: Technological, Technology, TechniqueTreas: TreasurerUniv: UniversityUCLA: University of California-Los AngelesU.S.: United StatesUSAF: United States Air ForceUSMA: United States Military AcademyVol.: VolumeWWI: World War OneWWII: World War TwoYr/Yrs: Year, years

Symbols

+ Period of activity likely to have extended later than date indicated+/- Date given is one ofknown activity; individual was most likely active with the organization earlier

and/or later than date indicated

Other notes

Universities will be spelled out the first time they appear in an entry and will be abbreviated thereafterwhere appropriate and clear (e.g. Florida State Univ: FSU).

Standard American state abbreviations may be used where appropriate and clear.

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BIOGRAPHICAL DICTIONARY

A

Aaholm, Philip Eugene. B. Apr. 3, 1937 (Sheboygan, WI). Clarinet studies with HAROLDWRIGHT at the Navy SOM (1955-56); BA/MM: Univ of Wisconsin-Madison (1964/1968) with GLENNBOWEN and RUSSELL DAGON; DM: Univ of Arizona (1972) with SAMUEL FAIN. Clarinetist:Colorado Wind Quintet (Founder/Memb: 1970s-80s, +/-). Active as a recitalist (incl perfs at the Univ ofOklahoma Clarinet Symposium and other clarinet conferences), chamber musician (incl tours of the U.S.with the Colorado Wind Quintet), and festival artist (incl participation at the Colorado Music Festival).Faculty member: Lamar Univ (Prof of Clarinet: 1966-70); Univ of Colorado (Prof of Clarinet: 1972-99).Articles published inThe Clarinet (including a series entitled “Forum”). Other positions/activities: VicePres, ICA (1976-78); ICA State Chmn, CO (1979-); Chmn, ICA Composition Committee (formerly); has been active as an administrator (incl service at Univ of CO as Chmn of Woodwind/Brass/PercussionFaculty, Assoc Dean of Grad Studies, and Dir of Summer School) and woodwind chamber music scholar;special interest in the use of relaxation in clarinet perf; extra-musical activities incl biking, kayaking,skiing. Memb: ICA. Plays on: Leblanc Concerto clarinets (overhauled by Tim Clark); GLENN BOWENmouthpiece; Kaspar ligature; Rico Grand Concert Thick-cut #3 ¾ reeds.

Clarinetist Philip Aaholm retired from the University of Colorado in June 1999 to begin his newcareer as a ski instructor in Frisco, CO. On the subject of the clarinet and performance, Aaholm comments

My philosophy regarding both teaching and performance revolves around the principlethat one should enjoy what they are doing. However, to maximize the “enjoyment” oneneeds to commit oneself to learning as much as possible about the clarinet – technique,tuning, tone production, etc. The more proficient one becomes enables the player to havemany more avenues of enjoyment to explore. I believe that every clarinetist shouldexplore the many venues of expression available . . . jazz, the various ethnic styles so prevalent in Eastern Europe, classical, avant garde – for in this way we can learn toappreciate and more easily accept and respect other means of expressing music which is just another means of communication. (Aaholm/Paddock 1998)

In response to the author’s request for a list of “prominent students,” Aaholm was concerned that by listing only some, those not included might feel slighted. In the interest of respecting Aaholm’s wishes,while at the same time providing historical documentation, the author has included the followingindependently-researched, partial list of students, gathered from this document as well as a brief survey ofthe internet: Michael Dean, Brian Ebert, Ruth June Hale, Anne Kleve, JOHN KUEHN, GREGG MILLER,David Odom, Timothy Phillips, Patty Shaw, ALAN WOY.

Bib: “Aaholm, Philip Eugene.”Who’s Who in American Music (Classical). 2nd ed. New York, NY: R.R. Bowker Co., 1985: 1; Aaholm, Philip, to Tracey Paddock, Tallahassee, FL, June 8, 1998; “PhilAaholm Retires.”The Clarinet 26 (September 1999): 15.

Abato, Cosimo C. D. Sept. 19, 1995 (Abingdon, MD). Nephew of VINCENT ABATO. Clarinetstudies at Peabody Conserv and Juilliard. Grad: NYU (1955); NYU Law School (1957). Formerclarinetist: U.S. Army Field Band; Baltimore Symph (1945-46). Was active as a studio/theatre musician

(incl perfs on NY radio/television networks and Broadway shows) and saxophonist. Other positions/activities: co-founded a law firm with whom he served as partner for many years; served as alawyer for the Baltimore AFM (1978-87). Memb: AFM, Phi Beta Kappa. Hon: Cosimo C. Abato ClarinetSchol established in 1995 at Peabody Conserv. Bib: “Cosimo C. Abato.” Law Offices of Abato,Rubenstein, and Abato, P.A. http://www.abato.com/history.html#cosimo (accessed February 6, 2011).

Abato, Vincent Joseph [Jimmy]. B. Jan. 21, 1919 (Wilmerding, PA); d. 2008. Clarinet studies begun at age 7; early studies with his brother Tony Abato and GILBERT STANGE (at Peabody Conserv);additional studies at Juilliard with JAN WILLIAMS. Additional clarinet studies with DANIEL BONADEClarinetist: Baltimore Symph (Clarinet/Bass/Sax: 1940-42, +/-); New York Phil (Clarinet/Bass/Sax: 1942-

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44); Metropolitan Opera (Bass/Sax: 1973, +/-); has also performed with the Boston Pops, Hollywood BowlOrch, and Los Angeles Phil; has performed as a member of the Glenn Miller, Claude Thornhill, and PaulWhiteman bands and other ensembles on clarinet/sax. Active as a soloist (incl the premiere of the PaulCrestonSax Concerto with the NY Phil in 1944), jazz musician, studio musician, and recording artist (onthe Columbia, Music Minus One, and Nonesuch labels). Works dedicated to Abato incl Rex Mitchell’sSong of the City and Alfred Reed’s Ballade (both for sax). Former faculty member: Columbia TeachersColl; Hofstra Univ; Juilliard (1948-58; 1982-87); Brooklyn Coll. Author, How to Develop a Good ClarinetTone (Leblanc). Hon: has appeared on the cover ofThe Clarinet twice (1956, 1974). Students include:EDDIE DANIELS, James Hopper, BRIAN HYSONG, Fraser MacPherson, Heather Monkhouse, VICTORMOROSCO, RON ODRICH, DEBORAH PITTMAN, Neal Ramsay, STEPHEN SEFSIK.

In addition to performing as a clarinetist in several major orchestras, Vincent “Jimmy” Abato wasequally well-known as a saxophonist with the same orchestras and with big bands and jazz ensembles. Hewas active as a soloist and recording artist in both arenas and was the first saxophone teacher at Juilliard.An early champion of saxophone performance and education in America, Abato was determined to raisethe status of the saxophone and its repertoire to that of other orchestral instruments. (Demsey 2011)Although Abato’s name has sometimes been recorded (even in his own handwriting) as “Vincent James Abato,” and his nickname was “Jimmy,” Abato’s preferred full name is “Vincent Joseph Abato.” (Michlin2011)

Bib: Demsey, David. “The Saxophone at Juilliard.” http://www.joeallard.org/JuilliardArticle.html(accessed February 6, 2011); Gee, Harry.Saxophone Soloists and Their Music . Bloomington, IN: IndianaUniversity Press, 1984; Michlin, Adam. “Vincent J. Abato.” A. Michlin. http://michlinmusic.com/abato/(accessed March 15, 2011); “The Clarinetists of the Metropolitan Opera.”The Clarinet 1 (May 1974): 3.

Aber, Thomas C. B. Sept. 29, 1954 (Kansas City, MO). BM/MM: Juilliard with JOSEPHALLARD; DM: Univ of Missouri-Kansas City; additional studies at the Sweelinck Conserv-Amsterdamwith Harry Sparnaay. Additional clarinet studies with PATRICIA KOSTEK, JAMES MEYER, and JOHNPARRETTE. Clarinetist: Cedar Rapids Symph (Bass: 1989-97); Omaha Symph (Bass: 1990-); newEARContemporary Chamber Ensemble (Founding Memb; current); has also performed with the Kansas CitySymph, Rotterdam Phil, Netherlands Ballet, and Natl Orch Assn. Active as a recitalist, chamber musician,saxophonist, and recording artist (on the earThis! label). Published inThe Clarinet. Memb: ICA. Hon:Fulbright-Hayes Award for study with Harry Sparnaay; Prize Winner, Gaudeamus Intl Compt forInterpreters of Contemporary Music (1979). Plays on: Leblanc Concerto B-flat clarinet; Selmer Low C bass clarinet.

Thomas Aber has focused much of his career on the performance of contemporary chamber musicand solo music for the bass clarinet. Concerning the bass clarinet, Aber comments that it is “. . . animportant musical voice, related closely to the soprano clarinet, but not merely an adjunct to it.” (Aber/Paddock 1998) Aber also has an interest in “. . . the distinctive styles of clarinet playing used in Bulgarian,Greek and Turkish folk music.” (Ibid.)

Bib: Aber, Thomas and Terje Lerstad. “Altissimo Register Fingerings for the Bass Clarinet.”TheClarinet 9 (Summer 1984): 39-41; Aber, Thomas C., to Tracey L. Paddock, Tallahassee, FL, August 17,1998.

Abrams, David. Native of Brooklyn, NY. BM/MM (both in Perf/Mus Theory)/DM (Perf/Lit):Eastman SOM with STANLEY HASTY. Former clarinetist: Syracuse Symph; Rochester Phil. Active as achamber musician (incl perfs with the Cassatt String Quartet and Society for New Music) and festival artist(incl participation at the Skaneateles Festival). Faculty member: Syracuse Univ (Prof of Clarinet: formerly

1990s, +/-); Onondaga Community Coll (Prof of Music/Computers: current). Other positions/activities:Treas, ICA (formerly, 1990s); award-winning Chief Classical Music/Feature Writer for theSyracuse Post-Standard and Herald Journal ; active as an adjudicator and clinician; also designs computer software forsmall central NY businesses and runs a private tax prep/accounting firm specializing in services for orchmusicians. Extra-musical interests incl chess. Memb: ICA. Students include: Curt Altarac, ColleenO’Neil. Bib: Abrams, David. “David Abrams.” Onondaga Community College. http://myhome.sunyocc.edu/~abramsd/ (accessed February 6, 2011); “Candidates for I.C.A. Officers.”The Clarinet 23 (February/March 1995): 18-19.

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Acord, Michael. Native of Ashland, KY. Early music studies with John “Pop” Lewis, LarryMoore, and Robert Hawkins. BME: Morehead State Univ-KY (1975) with WILLIAM BIGHAM; MM:Michigan State Univ (1977) with ELSA LUDEWIG-VERDEHR; additional studies at Eastman SOM withSTANLEY HASTY. Additional clarinet studies with FRED ORMAND. Clarinetist: Lexington Phil-KY(Principal: 1991-); Philharmonic Woodwind Quintet (1991-); Baird Winds (current); Movere WoodwindQuintet (current). Active as a recitalist/soloist (incl perfs with the Lexington Phil), chamber musician, andfestival artist (incl participation at Lutheran Summer Music). Faculty member: Morehead State Univ(Assoc Prof: 1989-). Bib: “Michael Acord.” Morehead State University. http://www2.moreheadstate.edu/orgs/sai/index.aspx?id=7972 (accessed February 6, 2011).

Adelson, Robert. BM/MM: Northwestern Univ with ROBERT MARCELLUS. Additionalclarinet studies with DOUGLAS CORNELSEN. Clarinetist: Colorado Symph (formerly). Active as asoloist (incl perfs with the Detroit Symph, Orchestre Recontres Musicales Internationales, and the LosAngeles Baroque Orch) and historical clarinet specialist (incl perfs on 18th-century clarinets with theHandel and Haydn Society Orch and Boston Baroque). Faculty member: Boston Conserv (formerly);Rencontres Musicales Intl Festival (formerly); Univ of Utah (Guest Prof: 1998, +/-); Towson Univ (AsstProf of Clarinet: current). Articles published inThe Clarinet, Lettre de Zuylen , Music and Letters,Performance Practice Review, Revue d’histoire du théatre , andWomen of Note Quarterly. Other positions/activities: active as a musicologist with special research interest in the area of women opera composers/librettists of late 18th-century France (book underway as of 1998); has served as program annotator for theSONY-Classical label. Hon: NEH Fellowship in Musicology (1993) to research the Beethoven StringQuartets at Harvard Univ. Bib: Adelson, Robert. “New Perspectives on Performing Mozart’s ClarinetConcerto.”The Clarinet 25 (February/March 1998): 50-52; Adelson, Robert. “’Too Difficult for BennyGoodman’: The Original Version of the Copland Clarinet Concerto.”The Clarinet 23 (November/December 1995): 42-45.

Akeroyd, Evans. B. 1857 (England); d. 1920. Clarinetist: Boston Symph (Principal: 1888-89).Bib: Huffman, Larry. “Boston Symphony Orchestra Musicians.” Stokowski.org. http://www.stokowski.orgBoston_Symphony_Musicians_List.htm (accessed February 7, 2011).

Alemann, Paul Ernst Rudolph. B. 1877 (Germany); d. circa 1946+. Clarinetist: PhiladelphiaOrch (Bass: 1904-30). Bib: Huffman, Larry. “Philadelphia Orchestra Musicians.” Stokowski.org. http://www.stokowski.org/Philadelphia_Orchestra_Musicians_List.htm (accessed February 7, 2011).

Alemany, Robert.Active as a clarinet recitalist, soloist, chamber musician (incl perfs with hiswife, conductor/classical guitarist JoAnn Falletta), and recording artist (incl recording of American clarinetconcerti with the Czech Natl Symph conducted by his wife, JoAnn Falletta, on the Albany Records label;also appears on the Troy label). Hon: favorable reviews of recording appear in American Record Guide, The Clarinet (see Bib), andGramophone . Bib: Nichols, William. “Audio Notes.”The Clarinet 27 (March2000): 18-19.

Alexander, Peter. Grad: Columbia Univ, Univ of Wisconsin, Eastman SOM. Clarinet studieswith GLENN BOWEN; has also worked with clarinetist/composer MEYER KUPFERMAN. Active as aclarinet recitalist (incl perfs at ICA conferences), soloist (incl perfs/recordings with the Pro Arte ChamberOrch of Boston and Hudson Valley Phil), chamber musician (incl perfs/recordings with the Hudson ValleyWind Quintet and the Music in the Mountains String Quartet/Chamber Players), festival artist (incl

participation at the Music in the Mountains Festival), and recording artist (on the CRI label). Premiere perfs incl MEYER KUPFERMAN’s Clarinet Concerto, performed with the Hudson Valley Phil (1985), andRobert Starer’sKli Zemer with the Pro Arte Chamber Orch of Boston. Faculty member: SUNY-New Palz(has served as Dean of the School of Fine and Perf Arts). Hon: recip of numerous educational awards.

Clarinetist Peter Alexander has enjoyed a working relationship with clarinetist/composer MEYERKUPFERMAN, having premiered Kupferman’s Clarinet Concerto in 1985. Kupferman has describedAlexander as “a fine soloist” who “. . . feels that all clarinet players should listen to other types ofinstrumentalists – like violinists, cellists, and singers – because they are more accustomed to solo style.”(Kupferman 1986, 18) In Kupferman’s article listed below, Alexander himself discusses the merits ofexploring and embracing the performance styles and musical language of other instrumentalists to bring

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more to one’s own performance. He further advocates variety in one’s musical life and a flexible approachto clarinet equipment as determined by the performance repertoire at hand. (Ibid., 19)

Bib: Kupferman, Meyer. “Expressivity – More Head, Heart or Lip?”ClariNetwork 5 (Winter1986): 7-8; 18-20; “Notes for ‘Robert Starer: Chamber Works.’” DRAM. http://www.dramonline.org/albums/robert-starer-chamber-works/notes (accessed February 7, 2011).

Allard, Joseph A. B. Dec. 31, 1910 (Lowell, MA); d. May 3, 1991 (Bradford, MA). Undergradmusic studies begun at New England COM. Clarinet studies with EDMONDO ALLEGRA, DANIELBONADE, AUGUSTIN DUQUES, GASTON HAMELIN, and RALPH MCLANE. Sax studies with LyleBowen, CHESTER HAZLETT, and Rudy Wiedoeft.

Former clarinetist: NBC Symph (Clarinet/Bass/Solo Sax); WOR Symph; Symph of the Air(Clarinet/Bass/Solo Sax); Band of America (Solo: 1948-58, +/-; served as Co-Principal with SIGURDBOCKMAN); Bell Telephone Hour (Principal, for 18 years); Du Pont Radio Show (Principal, for 19 yrs);has also performed as Solo Sax with the New York Phil and for RCA. Active as a soloist (incl broadcastsolo perfs on the Bell Telephone Hour), studio musician, jazz musician (incl work as saxophonist with theRed Nichols Band and others), and recording artist (on the RCA Victor and other labels).

Former faculty member: Juilliard (Prof of Clarinet/Bass Clarinet: 1956-85+); New EnglandConserv (Prof of Clarinet/Bass Clarinet/Sax/Jazz: 1980s, +/-); CUNY-Brooklyn (Asst Prof of Sax: 1980s,+/-); Manhattan SOM (1980s, +/-); Long Island Univ; Columbia Univ; NY Univ. Author:Three OctaveScales; Advanced Rhythms; Jazz Progressive Studies.

Hon: Gunther Schuller’sConcerto for Sax and Orch commissioned for Allard by his students incelebration of his 70th birthday.

Students include: THOMAS ABER, Peter Anderson, Bob Berg, GARY BOVYER, MichaelBrecker, Don Byron, CARMINE CAMPIONE, Harry Carney, JOHN CIPOLLA, Paul Cohen, EDDIEDANIELS, ERIC DOLPHY, F. GERARD ERRANTE, JOHN FULLAM, Larry Garges, DIANAHASKELL, WILLIAM HELMERS, THOMAS HILL, Daniel Klimoski, Lee Konitz, JEFFREY LERNERWalt Levinsky, Dave Liebman, Warne Marsh, JAMES MEYER, VICTOR MOROSCO, JOHN MOSES,DAVID NIETHAMER, EDWARD PALANKER, DEBORAH PITTMAN, RAOUL QUERZE, JohnRichmond, EDWIN RILEY, Jay Rodriguez, DENNIS SMYLIE, JACK SNAVELY, NOEL STEVENS,EARL THOMAS, Dave Tofani, Jerry Vivino, JOHN WIENER, Paul Winter, JOHN BRUCE YEH.

Joseph Allard significantly influenced the playing and teaching of many prominent twentieth-century clarinetists (and saxophonists), among them CARMINE CAMPIONE who commented, “I’d like to point out and give extra credit to Joe Allard as possibly the finest teacher. I believe his contribution has no

been given proper due.” (Campione/Paddock 1998)Another of Allard’s former students, EDDIE DANIELS, offered the following commentary onAllard’s teaching:

Joe Allard . . . solved almost all my problems for me; he just pointed the way—eye-opening, creative way of analyzing the embouchure and tone production, a veryanalytical, brilliant guy. He really was one of my biggest inspirations in terms of ateacher, with a great personality and a certain kind of sense into the workings of things.Joe used to talk about not grabbing the reed, choking it. We all talk about not choking thereed, but you just can’t pull the jaw back, like some people do. Some people put pressureon the top teeth to get it away from the bottom lip; but there is another way to do it thatJoe had which prevented the sides of the lip from pinching the sides of the reed. You’d goin there and he’d show you how and you’d leave playing twice as loud, twice as vibrant

and thinking, “Holy cow!” It’s like an enlightenment, each lesson! (Novak-Murrow 1991,36)

JACK SNAVELY, who cites Joseph Allard as the most significant influence on his playing andteaching, was similarly enlightened by Allard’s teaching which changed Snavely’s concept of playing fromtheir first lesson. Snavely took lessons at Allard’s New York City studio across the street from Radio CityMusic Hall, a studio which Allard rented out to DANIEL BONADE for a short time. Allard and Bonade played together in a radio orchestra, and when Allard would ask Bonade how he achieved certain things onthe clarinet, Bonade refused to tell him. Being analytical by nature, Allard would then observe Bonade

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playing and figure it out for himself. Allard was also adaptive and creative in his teaching, frequentlydeveloping original exercises on the spot to help a student with a specific challenge. (McKim 2000)

The website, “The Joe Allard Project,” which includes portions of Debra Jean McKim’s publisheddissertation, “Joseph Allard: His Contributions to Saxophone Pedagogy and Performance,” and is listed inthe Bibliography below, is highly recommended for a thorough history of Allard’s career, complete withnumerous anecdotes.

Bib: “Allard, Joseph.”Who’s Who in American Music (Classical). 2nd Edition. New York, NY:R.R. Bowker Co., 1985: 9; Campione, Carmine to Tracey L. Paddock, Tallahassee, FL, May 14, 1998;Cipolla, John M. “Pedagogy of Master Clarinet and Saxophone Teacher, Joe Allard: A Panel Discussion.”The Clarinet 36 (June 2009): 50-52; McKim, Debra Jean. “Joseph Allard: His Contributions to SaxophonePedagogy and Performance.” Doctor of Arts diss., University of Colorado, 2000, excerpted at http://www. joeallard.org/interviews/snavely.html (accessed January 8, 2011); Michlin, Alan, Ed. “The Joe AllardProject.” JoeAllard.org. http://joeallard.org/ (accessed January 8, 2011); Morosco, Victor. “Joseph Allard.”V. Morosco. http://www.morsax.com/allard.html (accessed January 8, 2011); Novak-Murrow, Jeanie. “AnInterview with Eddie Daniels.”The Clarinet 19 (November/December 1991): 36-41; Porter, Joan Waryha.“Joe Allard (1910-1991): A Revered Artist.”The Clarinet 19 (November/December 1991): 30-31.

Allegra, Edmondo [Edmund]. B. Nov. 28, 1889 (Crevacuore, Italy); deceased. Clarinetist:Tonhalle Orch (Principal: 1916-25); Boston Symph (Principal: 1925-26; Clarinet/E-flat: 1926-33). Activeas a soloist (incl perfs of Debussy’sPremiere Rhapsodie with the Boston Symph on Oct. 23 and 24, 1925).Students include: JOSEPH ALLARD.

Allegra left his native Italy for Switzerland in 1916 to become one of Switzerland’s mostrenowned clarinetists. He was the clarinetist in the first performance of Stravinsky’s L’histoire du Soldaton September 28, 1919, and several weeks later, on November 8, 1919, Allegra gave the first public performance of Stravinsky’sThree Pieces in Lausanne, Switzerland. Other well-known works associatedwith Allegra are Busoni’s Concertino, Op. 48 and Elegie , both of which were dedicated to Allegra.

Allegra served as Solo Clarinetist of the Tonhalle Orchestra for several years, leaving this post in1925 to become Principal Clarinetist of the Boston Symphony in the 1925-26 season. Following this firstseason, Allegra performed as Clarinetist and E-flat Clarinetist of the Boston Symphony from 1926 to 1933.Little was found in writing about the remainder of Allegra’s life and career.

Bib: Pierce, Jerry. “Pierce’s Potpourri.”The Clarinet 20 (November/December 1992): 14.

Alleman, John. Clarinet studies with KEITH STEIN. Active as a recitalist (incl a perf at the1983 Keith Stein Memorial Clinic). Faculty member: Youngstown State Univ (Prof of Clarinet: 1983, +/-)Other positions/activities: organized the 1983 Keith Stein Memorial Clarinet Clinic at Youngstown StateUniv. Students include: DAVID PINO.

Alleman is a unique clarinetist who continued performing despite being stricken with multiplesclerosis which curtailed the use of two of his fingers. At the 1983 Keith Stein Memorial Clarinet Clinic,Alleman performed his own composition,Variations for Clarinet and Piano, which calls for the use of theleft hand and first two fingers of the right hand. For a brief time, when he felt unable to play the clarinet,Alleman turned to painting as an artistic outlet and has painted his visual impressions of several works inthe clarinet repertoire.

Bib: Pino, David. “The First Keith Stein Memorial Clarinet Clinic.”The Clarinet 11 (Fall 1983):20.

Ambler, Donald. Native of Lafayette, IN. Early clarinet studies with Robert Priest. BM:

Vandercook Coll of Music. Additional clarinet studies with DANIEL BONADE, CLARK BRODY,ANTHONY GIGLIOTTI, LEON LESTER, PAUL HOWLAND, LEON RUSSIANOFF, and WILLIAMSCHUMACHER. Former clarinetist: Civic Orch of Chicago; Goldman Band; NY Orch Society (FoundingMemb; Clarinet/Personnel Mgr: 1960-62); North Carolina Symph; Virginia Symph; Denver Symph (Bass:1962-92); currently performs with the Central City Opera and Colorado Ballet Co. Active as a soloist.Faculty member: Colorado Christian Univ (Affiliate Prof of Clarinet: current). Articles published inTheClarinet. Other positions/activities: active as an adjudicator, clinician, and private clarinet/bass clarinetinstructor. Hon: inducted into the Jefferson HS Hall of Fame (1999). Students include: Scott Chiu, KarenDusek, Peter Forman, CRAIG NORDSTROM, Mark Sloss, ANDREW STEVENS, Michael Stordahl,Debra Wilbur. Bib: “Jefferson High School Hall of Fame - 1999.” Jefferson High School. http://www.

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lafayettejeff.org/hall_of_fame/hof_1999.htm (accessed February 10, 2011); “The Clarinetists of the DenverSymphony Orchestra.”The Clarinet 5(Fall 1977): 30.

Amelotte, N.R. Grad: Paris Conserv. Clarinetist: Boston Opera Orch (Second: active early1900s). Other positions/activities: owned a music store in the Boston area. Students include: RUFUSMONT AREY.

While performing as Principal Clarinetist of the Boston Opera Orch, Rufus Mont Arey gained somuch admiration for Amelotte’s playing that he requested lessons from Amelotte, despite the fact thatAmelotte played Second to Arey. Arey’s clarinet playing was strongly influenced by his studies withAmelotte, especially in the area of articulation. Arey purchased the clarinets he used throughout his careerfrom Amelotte’s Boston music store.

Bib: Jones, George. “The Artistry of Mont Arey (Part I).”The Clarinet 5 (Winter 1978): 16-18.

Amodeo, Ferdinand. B. Naples, Italy (1891). Grad: Emma Willard Conserv; Troy Conserv ofMusic. Clarinet studies with MICHAEL FUSCO. Former clarinetist: 105th Infantry Band, NY Natl Guard(Solo/Asst Bandmaster); prominent NY clarinetist active during the 1940s (+/-), and was also active as aviolinist and band leader (incl position with Amodeo’s Mechanicville City Band). Hon: listed inWho isWho in Music (1941). Bib: “Amodeo, Ferdinand.”Who is Who in Music. Chicago: Lee Stern Press, 1941:34.

Andelman, Arnold Leonard. B. Hartford, CT (1920). Grad: Hartt SOM. Former clarinetist:Hartford Federal Symph (Principal); prominent NY clarinetist active during the 1940s (+/-). Hon: listed inWho is Who in Music (1941). Bib: “Andelman, Arnold Leonard.”Who is Who in Music. Chicago: LeeStern Press, 1941: 34.

Anderson, John E. Clarinetist: Fiati (1990s-; +/-). Active as a clarinet recitalist/soloist (incl perfs at CMS and ICA conferences and the Intl Conference of Electronic Arts, and in China, Russia,Denmark, Norway, and Sweden, and throughout North America), chamber musician, recording artist (incl1996 recording of works for reed trio), and new music specialist (incl perfs of works utilizing solo clarinetin conjunction with various electronic, computerized, and/or sound manipulating components). Facultymember: Univ of Minnesota (Prof of Clarinet/Dir of Grad Studies: late-1970s-; +/-; has also served as Headof Woodwind Dept). Author,Concepts for Clarinet Teachers (Jeanné Inc). Other positions/activities:Editorial Staff,The Clarinet (1980s, +/-). Hon: favorable reviews of perfs/recordings appear inTheClarinet (see Bib below), Detroit News, Wilmington Journal, and Minneapolis Tribune . Students include:Becky Erickson, JENNIFER GERTH, JULIA HEINEN, ROBYN JONES, LEIGH WAKEFIELD. Bib:“Fiati.” Fiati. http://www153.pair.com/bensav/Interpretes/Fiati.Dirlam.html (accessed February 10, 2011);“John Anderson.” University of Minnesota. http://www.music.umn.edu/directory/facProfiles/AndersonJohn.php (accessed February 10, 2011); Nichols, William. “Audio Notes.”The Clarinet 24 (July/August1997): 16-17.

Anderson, Michael.B. Oak Grove, OR. BM: Portland State Univ (1977); MM/DM(in progress):Univ of Oregon (1979) with WAYNE BENNETT, John McManus, and ROBERT VAGNER; additionaldoctoral studies at Univ of Southern California with DAVID SHIFRIN. Additional clarinet studies withCATHERINE PALLADINO. Clarinetist: Eugene Symph (Principal: current); Santa Fe Pro Musica(current); Oregon Ballet (Principal: current); also performs with the Oregon Symph, and has performedwith the Fresno Phil and William Hall Chorale of Los Angeles. Active as a soloist (incl perfs with Santa Fe

Pro Musica), chamber musician, festival artist (incl participation at the Ernest Bloch, Oregon Coast,Oregon Bach, Peter Britt, and Sunriver music festivals), and recording artist (on the Dorian and NorthPacific Music labels). Former faculty member: Univ of Oregon; Willamette Univ; Lane Community Coll.Other positions/activities: Artistic Administrator, Oregon Bach Festival (current).

Michael Anderson has garnered much praise for his playing and recordings, including thefollowing from his former teacher DAVID SHIFRIN:

Michael has distinguished himself as one of the leading clarinetists in the country. . . . Hehas a beautiful sound, a formidable technique and wonderful communicative ability onthe instrument. (Crafts 2004)

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Rather than pursuing a solo career, something well within his reach, Anderson has instead chosento remain in Eugene, Oregon and to pursue a variety of performance options there rather than limitinghimself to a solo career. He is active as a soloist, but also enjoys orchestral and chamber playing andvarying styles of music from classical to contemporary. In addition to his teachers, Anderson citesBENNY GOODMAN as a clarinet role model.

Bib: Crafts, Fred. “Eugene Clarinetist Michael Anderson Racks up the Gigs and Two New CDs.”The Register-Guard (January 23, 2004) at http://oregonbachfestival.com/2004/01/eugene-clarinetist-michael-anderson-racks-up-the-gigs-and-two-new-cds/ (accessed February 11, 2011); “Michael Anderson.”Eugene Symphony. http://www.eugenesymphony.org/orchestra/meet-musicians/anderson-michael/(accessed February 11, 2011).

Anderson, Scott J. Native of Minneapolis, MN. Early clarinet studies with FREDRIKHEDLING. Grad: Interlochen Arts Acad; Eastman SOM with STANLEY HASTY; Northwestern Univ(1980s) with ROBERT MARCELLUS. Additional studies/coaching with Rhadames Angelucci, Jan DeGaetani, and ROSARIO MAZZEO. Clarinetist: Orquesta Sinfónica de Xalapa-Mexico (Assoc Principal/Bass: 1982-85); Oakland Symph (Principal: 1985-87); Grand Rapids Symph (Principal: 1987+); LosAngeles Chamber Orch (1980s+); LA Chamber Winds (formerly); San Francisco Contemporary MusicPlayers; Honolulu Symph (Principal: 1990-); Ebb and Flow (new music ensemble; current); has also performed as Principal Clarinetist of the Long Beach Symph and Los Angeles Opera. Active as a soloist(incl perfs with the Honolulu Symph), chamber musician (incl perfs on the Music in the Mishkan andTrinity Chamber Concerts series), new music specialist (incl perfs with above groups), studio musician(incl work with various film/television studios), festival artist (incl participation at the Bear Valley, CarmelBach, Colorado, Mendocino, Prince Albert, Spoleto, and Sun Valley music festivals), and recording artist(on the CRI and Well-Tempered labels). Faculty member: California State Univ-Sacramento (formerly);Univ of CA-Davis (formerly); Univ of CA-Berkeley (Lect: current). Other positions/activities: Memb,Honolulu Symph Orch Musicians’ Committee (incl service as Chair). Hon: Northwestern UnivFellowship; favorable reviews of perfs appear in the Honolulu Advertiser and Honolulu Star Bulletin.Students include: Umesh Shankar. Bib: “Scott Anderson, Principal Clarinet.” A Concertgoer’s Guide: The

Honolulu Symphony, Opus 2 : 66-67. Honolulu Symphony. http://honolulusymphonymusicians.org/Guide. pdf (accessed February 11, 2011).

Andolina, Salvatore [Sal]. Grad: Univ of Buffalo (1970s) with JAMES PYNE; Eastman SOMwith STANLEY HASTY. Sax studies with EDWARD YADZINSKI. Additional clarinet coaching with

BENNY GOODMAN. Clarinetist: Buffalo Phil (Clarinet/Bass/Sax: 1994-, +/-). Saxophonist: AmherstSax Quartet (Founding Memb); Da Capo Sax Quartet (Founding Memb). Active as an intl recitalist/soloist(incl perfs with the Buffalo, Fresno, and Rochester Phil Orchs, the Grand Rapids, Niagara, and VirginiaSymphs, and the Ars Nova Chamber Orch, Artpark Festival Orch, and NYC Pops; has performed atCarnegie Hall, the Lincoln Center, and numerous other well-known venues, and on “The Tonight Show”with Johnny Carson), chamber musician (incl numerous perfs/tours with the Amherst Sax Quartet), jazzmusician, and recording artist (incl solo recording on the Koch Intl/Rhapsody Records labels, andrecordings with the Amherst and Da Capo Sax Quartets). Faculty member (dates unknown): Buffalo StateColl; SUNY-Buffalo; Houghton Coll; SUNY-Fredonia. Other positions/activities: Vandoren Artist. Hon:1st Prize (with Amherst Sax Quartet), ASCAP/CMA (1993). Bib: Andolina, Sal. “Bio.” Sal Andolina.http://www.salandolina.com/Bio.html (accessed February 15, 2011); “Salvatore Andolina.” BuffaloPhilharmonic. http://bpo.org/meet/orchestra-salvatore_andolina.php (accessed February 15, 2011).

Andrews, Scott. Native of Virginia Beach, VA. Studied piano and violin before beginningclarinet studies with F. Edward Knakal. BM(with distinction): New England Conserv (1993) withHAROLD WRIGHT; additional studies at the Virginia Governor’s School for the Arts, Interlochen ArtsCamp (with SIDNEY FORREST), and Tanglewood. Additional clarinet studies with STANLEY HASTY.

Clarinetist: New England Chamber Orch (Principal: formerly); Gardner Chamber Orch (Principal:formerly); Cantata Singers and Ensemble (Second: formerly); New World Symph (Sub Principal:formerly); Toho Gauken Symph (Principal: formerly); Boston Symph/Boston Pops Esplanade Orch(Second: formerly, 1995-2000+); St. Louis Symph (Principal: current); has also performed with thePhiladelphia and Seito Kinen Orchs, and Mito Chamber Orch. Active as an intl soloist (incl perfs with theSt. Louis Symph), recitalist/chamber musician (incl perfs given throughout North America and the Asian

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Pacific, and perfs with the Boston Symph Chamber Players, Calyx Piano Trio, Walden Chamber Players,Ying String Quartet, et al), new music specialist (incl perfs with the Auros Group for New Music, BostonMusica Viva, and Composers in Red Sneakers), festival artist (incl participation at Tanglewood and theKneisel Hall, Missouri, and Portland Chamber Music Festivals), and recording artist (appears on recordingwith the Boston Symph/Pops, and on the Chandos, Denouement, Koch Intl, and VQR Digital labels).

Former faculty member: Boston Conserv (incl position as Woodwind Dept Chair); Tanglewood.Other positions/activities: Dir, Missouri Chamber Music Festival; active as a clinician (master

classes given at Longy SOM, Kansas State Univ, and the Tokyo’s Toho School).Hon: Tanglewood Fellow (1991, 1994); 1st Prize, Alliance for the Arts Chamber Music Compt

(1991); Kneisel Hall Chamber Music Fellowship (1992); favorable reviews of perfs appear in the BostonGlobe and New York Times .

Students include: Katie Brown, Anna Najoom, Erin Svoboda.Bib: “Musical Chairs.”The Clarinet 23 (May/June 1996): 54; “Scott Andrews.” St. Louis

Symphony. http://www.stlsymphony.org/musicians/bios/bio-scott-andrews.htm (accessed February 15,2011).

Annis, Robert Lyndon. BM: New England COM; MM: Univ of Southern California; additionalstudies at Harvard Univ/Coll Board Admissions Instit and Tanglewood. Clarinetist: San Antonio Symph(1971-73); Collage New Music (1976-). Active as an orchestral clarinetist, recitalist, chamber musician,and recording artist (on the Crest, CRI, Delos, Gunmar, Nonesuch, Northeastern, and Philips labels); broadcast perfs given on NPR, PBS, and the Tokyo Broadcasting System. Faculty member: Brown Univ(Instructor of Clarinet: 1977-85+); New England Conserv (Instructor of Clarinet: 1978-85+); WestminsterChoir Coll-Rider Univ (Dir/Dean/Adj Assoc Prof: current). Author of an essay/discography on HAROLDWRIGHT. Other positions/activities: Exec Dir, Collage Inc.-Boston (1979-82); Dir of Admissions (1983-85+)/Dean of Enrollment Services (formerly), New England Conserv; active as an adviser/consultant toeducational instits/arts orgs in the areas of enrollment, marketing, and planning, and as a lecturer on churchmusic (lectures given in U.S. univs and in Korea). Memb: NARAS, ICA, MENC. Students include: AndyTangborn. Bib: “Annis, Robert Lyndon.”Who’s Who in American Music (Classical). 2nd Edition. NewYork, NY: R.R. Bowker Co., 1985: 16; “Robert Annis, Clarinet.” Collage New Music. http://www.collagenewmusic.org/annis.html (accessed February 15, 2011).

Applebaum, Mordecai. Clarinet studies with DANIEL BONADE, GINO CIOFFI, and RALPHMCLANE. Former clarinetist: Boris Goldovsky Orch; New England Opera Co.; Radio Orch of Israel;

Pittsburgh Symph (Bass/E-flat: 1957-63+). Has been active as a NYC freelance clarinetist (1950s, +/-) andfestival artist (incl participation at Tanglewood, 1948-50). Students include: Joshua Kovach. Bib:Browning, James, Ed.Pittsburgh Symphony Orchestra Program Magazine. (April 11 and 13, 1958): 27.

Arcieri, Emilio [Emil]. B. Dec. 26, 1901 (Lynn, MA); d. Mar. 17, 1949. Clarinetist: BostonSymph (Second/Third: 1921-34; Percussion: 1934-49). Other positions/activities: was active as aconductor (former memb, Boston Pops Orch conducting staff). Students include: ATTILIO POTO.

Emil Arcieri served as the Boston Symphony Orchestra’s Second Clarinetist for many years until being diagnosed with a heart condition, at which time he joined the orchestra’s percussion section. Arcierireportedly died while on tour with the orchestra in New York City during the 1948-49 season.

Former Arcieri student ATTILIO POTO offered the following commentary on his teacher:

Mr. Emilio Arcieri of the B.S.O. helped me for several years to complete my training. He

was a strong believer in developing a beautiful tone by using the Kroëpsch studies, I andII, very slow. He always said that the real clarinet sound should be like “deep bluevelvet.” He meant that the Italian and French School should be combined. (Poto/Paddock1998)

Bib: Brush, Gerome. Boston Symphony Orchestra: Charcoal Drawings of Its Members with Biographical Sketches . Boston, MA: Merrymount Press, 1936: 8-9; Huffman, Larry. “Boston SymphonyOrchestra Musicians.” Stokowski.org. http://www.stokowski.org/Boston_Symphony_Musicians_List.htm(accessed February 15, 2011); Poto, Attilio, to Tracey L. Paddock, Tallahassee, FL, June 15, 1998.

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Ardan, Laura. BM/MM: Juilliard (1980/1981) with STANLEY DRUCKER and LEONRUSSIANOFF. Additional clarinet studies with ROGER HILLER.

Clarinetist: Lincoln Center Instit (Res Artist/Teacher: formerly, for 4 years); Metropolitan OperaOrch (formerly, for 2 years); Atlanta Symph (Principal: 1982-); Atlanta Chamber Players (1987-); EmoryChamber Music Society of Atlanta (current). Active as a recitalist (incl a perf as guest artist on the GreatPerformers Series with “Emmanuel Ax Invites…” at Lincoln Center), soloist (incl perfs with the AtlantaSymph and the Greenville and Nashville Chamber Orchs), chamber musician (incl perfs with above groupsthe Atlanta and Georgian Chamber Players, and the Emory Chamber Music Society), festival artist (incl participation at the Grand Teton, Marlboro, Mostly Mozart, and Tanglewood festivals and at the AmeliaIsland and Highlands-Cashiers Chamber Music Festivals), and recording artist (on the Naxos label); broadcast perf given on NPR’s “Performance Today.”

Faculty member: Lincoln Center Instit (Res Artist/Teacher: formerly); Emory Univ (current);Gordon Coll (current).

Hon: Recipient, Juilliard and Naumburg Foundation Schols.Students include: David Callaway, Joseph Eller, Marci Gurnow, Amy Jarjoura, Tia Thomason.Bib: “Laura Ardan.” Atlanta Chamber Players. http://www.atlantachamberplayers.com/

musicians.html (accessed February 15, 2011); “Laura Ardan.” Atlanta Symphony. http://www.atlantasymphony.org/TheMusic/Artist.aspx?performer=woodwinds---Laura-Ardan (accessed February 15, 2011).

Ardovino, Lori (Neprud).BA(Clarinet Perf)/BS(Ed): Moorhead State Univ (1984) with KEITHLEMMONS (clarinet/sax) and Arthur Nix; MM(Clarinet/Woodwinds): Michigan State Univ with ELSALUDEWIG-VERDEHR; DM: Cincinnati Conserv with RONALD DE KANT. Sax studies with R. VanMatre, J. Forger, R. Buckley; composition studies with F. Bianchi, J. Hutchinson, C. Ruggiero, H.Gwiazda. Clarinetist (all positions current): Ardovino Trio; Univ of Montevallo Woodwind Quintet;Magnolia Trio; Cahaba Sax Quartet (Founding Memb); Birmingham Art Music Alliance (Composer/Clarinetist); also performs as clarinetist/saxophonist with the Alabama and Tuscaloosa Symphs. Active asa recitalist (incl perfs at several Univ of Montevallo Clarinet Symposia, the Montana-Idaho ClarinetSymposium, and other clarinet conferences), soloist (incl perfs with the Red Mountain Chamber Orch andthe Univ of Montevallo Wind Ensemble), chamber musician, new music specialist (incl perfs of her owncompositions), and festival artist (incl participation at the Michigan State Univ Clarinet Festival). Facultymember: Augustana Coll (formerly); Univ of Montevallo (Prof of Clarinet/Dir of Mus Grad Studies:current). Articles/reviews published in Ala Breve and The Clarinet. Other positions/activities: G. LeblancCorp. Artist/Clinician; Founder/Host, Univ of Alabama Clarinet Symposium; active as an adjudicator,

clinician, and composer (works performed throughout North America). Memb: AL Bandmasters Assn, ALMEA, Birmingham MTA, ICA, MTNA, NACWPI, North American Sax Alliance. Plays on: LeblancSymphonie clarinets; Backun O+ mouthpiece; Selmer Mark VII alto sax; Selmer Series II tenor sax; SelmeC* S80 sax mouthpieces. Bib: “Lori Ardovino.” University of Montevallo. http://www.montevallo.edu/music/FacultyPages/loriardovino.shtm (accessed February 16, 2011).

Arey, Rufus Mont. B. Feb. 28, 1887 (Vinalhaven, ME); d. Dec. 22, 1966 (Vinalhaven, ME).Early clarinet studies with C. Fred Meservey (at a cost of fifty cents per lesson, 1898); additional clarinetstudies with N.R. AMELOTTE (Second Clarinet, Boston Opera Orch) and LUCIEN CAILLIET. Formerclarinetist: Boston Festival Orch (Principal: active early 1900s); Boston Opera Orch (Principal: active early1900s); 71st Coast Artillery Band-France (during WWI); Detroit Symph (Principal: 1919-24, +/-);Philadelphia Orch (Principal: 1923-24, and briefly during WWII); Rochester Phil (Principal: 1927-54);Rochester Civic Orch (Principal); Eastman-Rochester Orch (Principal); was appointed Principal Clarinetist

of Toscanini’s NBC Orch (1938), but broke contract to stay in Rochester for the remainder of his career.Was active as a recitalist, soloist, chamber musician, and NYC freelance musician (incl perfs in varioustheater orchs, 1925-27). Faculty member: Eastman SOM (Prof of Clarinet: 1927-54). Author, Method forClarinet andOrchestral Studies (both unpublished). Played on: Alexandre Roberts (Paris) and JacquesAlbert fils (Brussels) clarinets; Selmer H.S. and O’Brien crystal mouthpieces; this equipment is now in the possession of GEORGE JONES. Students include: CLARK BRODY, LEE GIBSON, HENRY GULICK,STANLEY HASTY, NORMAN HEIM, VANCE JENNINGS, RICHARD JOINER, GEORGE JONES,ALFRED MAZZOCCHIO, DAVID OPPENHEIM, WILLIAM OSSECK, KEITH STEIN.

Former R.M. Arey student LEE GIBSON called Arey “the [most] outstanding artist I’ve everheard play the clarinet, and one of the greatest virtuosos that I’ve ever heard in every respect.” (Knepper

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1978, 31) Gibson helps to place Arey in historical context by noting that Arey was playing during the samera in which GUSTAVE LANGENUS, VICTOR POLATCHEK, SIMEON BELLISON, ROBERTLINDEMANN, MARIUS FOSSENKEMPER, and JOSEPH ELLIOTT were active. (Ibid.)

A thorough biography of Arey can be found in the George Jones articles listed in the bibliography below. These articles are highly recommended as they provide not only insight into Arey’s career andteaching methodology, but also into musical life beginning at the turn of the century through the middle ofthe twentieth century.

Bib: Gibson, Lee. “Letters—Rufus Mont Arey.”The Clarinet 4 (Fall 1977): 5; Jones, George.“The Artistry of Mont Arey (Part I).”The Clarinet 5 (Winter 1978): 16-18; Jones, George. “The Artistry ofMont Arey (Conclusion).”The Clarinet 6 (Fall 1978): 6-9; Knepper, Noah A. “An Interview with LeeGibson.”The Clarinet 6 (Fall 1978): 31.

Armato, Ben. Dipl: Juilliard (1951) with DANIEL BONADE. Former clarinetist: USMA Band-West Point (1944-47); Metropolitan Opera Orch (Second: 1953-88). Former faculty member: Juilliard;SUNY-Purchase (1981-91); was very active as a private clarinet instructor. Articles published inTheClarinet. Author:Perfect a Reed, A Scientific Method for Reed Adjusting (1980; no longer in print);Perfect A Reed . . . and Beyond (1995; updated and expanded version of previous publication of similarname). Editor:The Opera Clarinetist (1972; a very useful collection of edited clarinet parts used at theMet);The Recital Clarinetist . Other positions/activities: Inventor of PerfectaReed (1969) and The ReedWizard (1993), devices used by many clarinetists for measuring/adjusting reeds. Has played on: Gennusamouthpiece. Students include: Richard Barnes, Derek Bermel, B. Thomas Blodgett, Curt Ebersole, DaleFedele, ERIC GINSBERG, Janice Minor, Danielle Occhipinti, Ben Redwine, Alia Sabur. Bib: “About Mr.Ben Armato.” ReedWizard.com. http://www.reedwizard.com/AboutArmato.html (accessed February 15,2011); “Ben Armato.”The Clarinet 1 (May 1974): cover, 3.

Aseltine, Kimberly. BM: Michigan State Univ; grad studies begun at Univ of Michigan;additional studies at the Blossom Festival, New College Music Festival, and Music Acad of the West (withMITCHELL LURIE, 1983). Clarinet studies with FRANKLIN COHEN, LARRY COMBS, ROLFLEGBANDT, FRED ORMAND, and DAVID SHIFRIN. Former clarinetist: American Wind Symph; KeyWest Symph (Principal); South Dakota Symph (Principal: 1980s, +/-); Honolulu Symph (Principal: 1987-90s, +/-); also perfs/has performed with the Detroit, Grand Rapids, and Toledo Symphs, the MichiganOpera Theater, and Keith Brion’s New Sousa Band. Active as a soloist (incl perfs with the Flint and SouthDakota Symphs), chamber musician (incl perfs with the Dakota Wind Quintet, Detroit Chamber Winds,

Toledo Chamber Players, and Chamber Music Hawaii), festival artist (incl participation as PrincipalClarinetist of the Santo Domingo Intl Music Festival), and recording artist (on the Fleur de Son label).Faculty member: Oberlin Conserv Community Music School (current). Hon: Winner, William C. ByrdConcerto Compt. Bib: “Kimberly Aseltine.” WGTE Public Media. http://www.wgte.org/wgte/listen/index.asp?page_id=308 (accessed February 15, 2011); “Musical Chairs II.”The Clarinet 14 (Winter 1987): 47.

Atkins, David. Clarinetist: California Chamber Symph (Solo: formerly, for 26 years); WestwoodWind Quintet (Co-Founder; 1959-); has also performed with the Los Angeles Phil and Fear No Music.Active as a chamber musician (incl perfs with the Westwood Wind Quintet and South Bay Chamber MusicSociety), studio musician (incl work with various Los Angeles studios during the 1940s), and recordingartist (numerous recordings with the Westwood Wind Quintet appear on the Crystal Records label).Former faculty member: California State Univ-Long Beach (1980s, +/-). Published inWindplayer and inWindplayer ’s publicationClarinet Masterclasses. Hon: favorable reviews of recordings (with Westwood

Wind Quintet) appear inFanfare, Gramophone, and IDRS Journal. Plays on: Buffet clarinets (B-flat/E-flat/Bass); custom-modified MITCHELL LURIE long/open mouthpiece; hand-made ligature; modified #5Apollo reeds. Students include: Russell Campbell, Deborah Carnahan, Keith Felch, Mary Kantor, ClarencePadilla, Jennifer Showalter, Lea Steffens, Loren Weisbrod. Bib: Atkins, David. “Masterclass: Tips forFreelancers.”Windplayer No. 52: 38; Atkins, Dave. “Tips for Freelancers.”Selected Clarinet

Masterclasses from the Editors of Wind Player. Malibu, CA: Windplayer Publications, 1998: 28-29.

Aufmann, Ronald G. Native of Cincinnati, OH. BM/Perf Cert: Indiana Univ with EARLBATES. Additional clarinet studies with LAWRENCE BOCANER, Frank Bowsher, LOREN KITT,EMIL SCHMACTENBERG, and WILLIAM WRIGHT. Clarinetist: Baltimore Chamber Orch (Co-

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Principal: formerly); Parnassus Wind Quintet (formerly); Contemporary Music Forum (formerly);Cincinnati Symph Orch/Pops (Bass: 1986-; served as Actg Assoc Principal in 1999); has also performedwith the Baltimore Symph, Washington Ballet, and Washington Terrace Theater Orch. Active as a soloist(incl perfs with the Cincinnati Conserv Wind Symph and Cincinnati Symph) and chamber musician/newmusic specialist (incl perfs with above groups). Premiere perfs incl works by F. Proto and P. Sciortino.Faculty member: Washington D.C. Youth Orch Program (formerly); Cincinnati Conserv (Adj Asst Prof ofBass Clarinet: 1995-); Northern Kentucky Univ (1999-). Extra-musical activities incl cooking andwoodworking. Hon: Winner, Brahms Festival Compt, Wolftrap, VA (1983); favorable review of perfappears in theCincinnati Enquirer . Students include: Michael Maccaferri, Sarah Nowlin, Tiffani Perry,Aaron Shemus, Anthony Taylor. Bib: “Ronald G. Aufmann.” College-Conservatory of Music. http://ccm.uc.edu/musicx/accent/aufmann.aspx (accessed February 15, 2011); “Ron Aufmann.” Cincinnati Symphonyhttp://www.cincinnatisymphony.org/pages/musicianshow2.php?mid=25 (accessed February 15, 2011).

Aurand, Charles Henry, Jr. B. Sept. 6, 1932 (Battle Creek, MI). BM/MM: Michigan StateUniv (1954/1958) with KEITH STEIN; PhD: Univ of Michigan (1971). Clarinetist: Battle Creek Symph(formerly); Youngstown Symph (formerly); Shreveport Symph (formerly); Flagstaff Symph (Principal:current); Tucson Civic Orch (current); Sonora Winds (current). Active as a recitalist (incl perfs at the 1991ICA conference and ClarinetFest 1999), chamber musician (incl perfs with Sonora Winds, variousYoungstown, OH ensembles, 1960-73, and in Flagstaff, AZ, 1973). Faculty member: Hiram Coll (AsstProf: 1958-60); Youngstown State Univ (Prof/Dean: 1960-73); Northern Arizona Univ (Prof/Dean of Collof Creative and Communication Arts: 1973-94; Prof Emeritus: 1994-). Other positions/activities:Commander/Dir, U.S. Air Force Band-Barksdale AFB, LA (1955-57); Host, ClarinetFest 1991. Memb:ICA. Hon: favorable review of perf appears inThe Clarinet (see Bib below). Plays on: Buffet R-13clarinets; Kaspar (Ann Arbor) mouthpiece with Stein facing. Students include: Albert Grijalva, JoanWhite. Bib: Aurand, Charles H., to Tracey L. Paddock, Tallahassee, FL, July 14, 1998; Cardon, Rolandand Norbert Goddaer. “ClarinetFest ’99, Ostend, Belgium.”The Clarinet 27 (December 1999): 58-67.

Averett, Janet M. BM: Univ of North Carolina-Greensboro with JOHN WEIGAND; MM: Northwestern Univ with CLARK BRODY, RUSSELL DAGON and ROBERT MARCELLUS; DM: Univof Michigan with FRED ORMAND. Additional clarinet studies with Robert Crowley, JIMMYGILMORE, and ROSARIO MAZZEO.

Clarinetist: Grant Park Symph (Second/E-flat: formerly); Greensboro Symph (formerly); OperaSan José Orch (current); Keith Brion’s New Sousa Band (current; incl perfs as Principal); also perfs/has

performed with the California, Grant Park, Greensboro, Lake Forest and San José Symphs, AmericanBallet Theater, Symph Silicon Valley, Ballet San José, Bay Area Women’s Phil, Chicago Music of theBaroque, and Concertante di Chicago. Active as a recitalist/soloist (incl perfs with MARKBRANDENBURG at the 1995 Alea II concerts of new music at Stanford Univ, and with the Palo AltoChamber Orch and San José Wind Symph), chamber musician (incl perfs with the Greensboro Symph OrchWoodwind Quintet) and festival artist (incl participation at the Brevard and Grand Teton Music Festivals,and the San Francisco Midsummer Mozart Festival).

Faculty member: San Jose State Univ (Asst Prof of Clarinet/Woodwind Area Coordinator: 1986-).Articles published inThe Clarinet and Instrumentalist (incl interviews with prominent Americanclarinetists ALEXANDER WILLIAMS, MICHELE ZUKOVSKY, and others).

Other positions/activities: Founder, San Jose Clarinet Choir (1991-); Founder, South Bay ClarinetSociety (1993); ICA State Chair, CA (late 1990s); active as an adjudicator, clinician (incl clinics for theCalifornia MEA conferences), and conductor (incl a perf with the San Jose Wind Symph at the 1997

WASBE Festival in Austria). Memb: ICA.Students include: Kenta Akaogi, Charles Ancheta, Robert Baucus, Andrew Connell, AlleneGoshey, Charlotte MacManus.

Bib: Averett, Janet. “Clarinet Style and Nuance, An Interview with Michele Zukovsky.”The Instrumentalist 46 (September 1991): 23; Averett, Janet, and Mark Brandenburg. “Toscanini’s Clarinetist:An Interview with Alexander Williams.”The Clarinet 19 (February/March 1992): 34-39; Averett, Janet, toTracey L. Paddock, Tallahassee, FL, May 15, 1998; “Averett, Janet.”Woodwind Anthology; ACompendium of Woodwind Articles from The Instrumentalist. Vol. 2. Northfield, IL: Instrumentalist Co.,1992: 827; “Janet Averett.” San Jose State University. http://www.music.sjsu.edu/music/faculty-and-staff/dr-janet-averett (accessed February 15,2011); “Musical Chairs.”The Clarinet 14 (Winter 1987): 47.

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Ayer, Christopher. Native of New Brunswick, CAN. BME: Acadia Univ (1991); MM: NewEngland Conserv (1993) with THOMAS MARTIN; DM: Cincinnati Conserv (1997) with RONALD DEKANT. Clarinetist: Stone Fort Wind Quintet (current); Duo Karadan (with his wife, pianist Kae Hosoda-Ayer). Active as an intl recitalist (incl perfs at ICA conferences, and in North America and Japan) andchamber musician (incl perfs with above groups). Faculty member: Eastern New Mexico Univ (Prof ofClarinet/Orch Conductor: formerly); Stephen F. Austin State Univ (Assoc Prof: current). Published inTheClarinet. Other positions/activities: active as an adjudicator, clinician, and lecturer (incl presentations atICA conferences and the Texas Clarinet Consortium). Students include: Sarah Baty, Jeremy Cohen, KellieJordan. Bib: Ayer, Christopher. “Reviews.”The Clarinet 26 (March 1999): 95-96; “Christopher Ayer.”Texas Clarinet Colloquium. http://www.druhanclarinet.com/GuestMain.html (accessed February 15, 2011).

Ayres, Thomas A. B. Jan. 30, 1917; d. Feb. 22, 1990 (IA). BM/MM: Univ of Iowa with HIMIEVOXMAN. Former clarinetist: Univ of IA Faculty Woodwind Quintet; The Stadler Ensemble (FoundingMemb; 1974). Was active as a recitalist, chamber musician, basset horn specialist (incl perf at the 1988ICA conference), and recording artist. Former faculty member: Western Kentucky State Coll (Dir ofBands); Univ of Miami; IA and MN Public Schools; Univ of Iowa (Asst Prof: 1950s-80s, +/-). Other positions/activities: was active as an arranger. Students include: Donald Black, Alex Fields, LAWRENCEMALLETT, RITCHARD MAYNARD, GEORGE MELLOTT, DAVID WRIGHT. Bib: “Ayres, ThomasA.”Woodwind Anthology: A Compendium of Woodwind Articles from The Instrumentalist. Vol. 2. Northfield, IL: Instrumentalist Co., 1992: 527; West, Charles. “Memo to the Membership.”The Clarinet 17(July/August 1990): 54.


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Baez, Luis. Native of Washington D.C. Early clarinet studies with RICHARD BASSETT(Washington D.C.). BM: Peabody Conserv with SIDNEY FORREST; additional music studies atInterlochen Arts Camp. Additional clarinet studies with STEVEN BARTA, LARRY COMBS, Marshall

Haddock, ROGER HILLER, and ROBERT MARCELLUS. Clarinetist: Civic Orch of Chicago (formerly)Annapolis Opera Co. (Principal: formerly); The Florida Orch (Second: 1983-86, +/-); Santa Fe Opera Orch(formerly); New Mexico Symph (Principal:1986-90); San Francisco Symph (Assoc Principal/E-flat:1990-;has also served as Principal). Active as a soloist (incl perfs with the Alexandria-VA, Natl, New Mexico,and San Francisco Symphs, the U.S. Navy Band, and the Chautauqua Summer Festival Orch), chambermusician (incl perfs on the San Francisco Symph’s Chamber Music Series), festival artist (incl participationat the San Francisco Symph Stravinsky Festival and Telluride Chamber Music Festival), and recordingartist (on the Imaginary Road and Real Music labels, and on motion picture soundtracks). Faculty memberSan Francisco Conserv (1990s-, +/-). Other positions/activities: Rico Artist; active as a clinician. Hon:Winner, Alexandria Symph Compt; Winner, Chautauqua Festival Compt; Winner, Natl Symph OrchYoung Soloist Compt; Winner, U.S. Navy Band Concerto Compt. Plays on: Buffet Prestige clarinets;JAMES KANTER “D” mouthpiece; Buffet R-13 E-flat clarinet; Vandoren 5RV E-flat mouthpiece (refaced by Steve Roberts); Rico Grand Concert Select Evolution #4 ½ reeds. Students include: Jeff Anderle,

Patrick Barry, Sarah Bonomo, Roman Fukshansky, Lynné Funkhouser, Sophie Huet, Anthony Marotta,Ricki Nelson, Donna Nossett, Steve Sánchez, Laurie San Martin.Before he began playing the clarinet, Luis Baez first studied piano and then became enamored

with the oboe upon listening to a recording of Tchaikovsky’sSwan Lake. Baez was redirected to theclarinet by his orchestra director and from that point forward, his musical direction was assured. Baez became so devoted to his clarinet studies that he moved to Chicago and worked at the CommoditiesExchange (where he monitored price fluctuation in pork bellies) in order to finance his private studies withROBERT MARCELLUS. In addition to his activities with the San Francisco Symphony, Baez also enjoysthe art of bonsai.

Bib: Gillespie, James. “The Clarinetists of the San Francisco Symphony.”The Clarinet 27 (March2000): 68-71; “Luis Baez.” San Francisco Conservatory of Music. http://www.sfcm.edu/faculty/baez.aspx(accessed February 14, 2011); “Luis Baez.” San Francisco Symphony. http://www.sfsymphony.org/music/MeetTheMusicians/MembersOfOrchestra.aspx (accessed February 14, 2011); Steinberg, Michael, ProgramAnnotator.San Francisco Symphony Stagebill 12 (September/October 1992): 40.

Baker, Norman Louis. B. Dec. 8, 1941 (Milwaukee, WI). BM: Juilliard (1964); MM: ClevelandIOM (1968). Clarinetist: Atlanta Symph (Assoc Principal: 1980s-90s). Faculty member: Georgia StateUniv (formerly). Other positions/activities: Program Coordinator, Atlanta Symph (1980s-90s). Hon: NEAChamber Music Grant (1970-72). Students include: David Pharris. Bib: “Baker, Norman Louis.”Woodwind Anthology: A Compendium of Woodwind Articles from the Instrumentalist. Vol. 2. Northfield,IL: Instrumentalist Co., 1992: 27.

Baldwin, Harry. Clarinetist: Sousa Band (1907-12); Los Angeles Phil (1919-20). Bib: Berger,Kenneth. “Members of Sousa’s Band.” Dallas Wind Symphony. http://www.dws.org/sousa/roster.htm(accessed February 14, 2010).

Balter, Alan Neil. B. Mar. 17, 1945 (NY, NY); d. Aug. 21, 1998. Music studies at Juilliard(1961-62) with LEON RUSSIANOFF and DAVID WEBER. BM/BA: Oberlin Conserv (1966) withGEORGE WALN; MM (Clarinet/Conducting): Cleveland IOM (1967) with ROBERT MARCELLUS.Additional music studies at Tanglewood. Clarinetist: Atlanta Symph (Principal: 1967-75). Was active as arecitalist (incl perfs at ICA conferences), soloist (incl perfs with the Akron and Memphis Symphs),chamber musician, and recording artist (incl David Baker’s Clarinet Concerto, written for Balter, on theTelarc label). Former faculty member: Georgia State Univ (Instructor of Clarinet/Orch: 1970-75); SanFrancisco Conserv (Instructor of Orch Conducting/Clarinet: 1975-79); Manhattan SOM; Mannes SOM.Author of a book on conducting. Other positions/activities: Host, Alan Balter Clarinet Workshop, NC(1982); became very active as a conductor incl positions with the Atlanta Symph (Asst Conductor: 1972-

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75), Exxon Arts Endowment (Conductor: 1979-82), Baltimore Symph (Assoc Conductor: active 1982-84),Akron Symph (Music Dir/Conductor: 1983-98, +/-), and Memphis Symph (1984-98, +/-); was also activeas a clinician (master classes given at various clarinet conferences). Hon: NEA Grant (1966); 1st Prize,MIN-ON Intl Concours for Conductors-Tokyo (1976); Exxon Arts Endowment Conducting Fellowship(1979). Students include: DRU DEVAN, Jere Douglas, Geoffrey Flolo, John Sackett, CAROLEE SMITH,CHARLES STIER.

Alan Balter’s original instrument was piano, but he became interested in the clarinet through hisgrowing familiarity with jazz clarinet and because he was seeking a more social, interactive musicalexperience than piano could provide. The freedom of musical exploration in jazz and the desire to sharemusic would eventually steer Balter from a position of prominence in the American clarinet community toa position of prominence as an award-winning American conductor. Although Balter’s career came tofocus on conducting, he remained active as a clarinetist, soloing in his late years with both the Akron andMemphis Symphony Orchestras during his tenure as Music Director of those orchestras. Balter was aboutto renew his focus on clarinet playing and record just before his untimely death in 1998.

Bib: “Alan Balter.”ClariNetwork (April/May 1982): 6; “Balter, Alan (Neil).”Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker, 1985: 30; Busbee, James. “TheMaestro Moves On.” Memphis Flyer. http://www.memphisflyer.com/backissues/issue482/cvr482.htm(accessed February 2011); “The 1982 Alan Balter Clarinet Workshop.”ClariNetwork (November/December 1982): 3.

Bambach, Paul. BM: Wooster Coll; MM: Cincinnati Conserv. Clarinet studies with ROBERTMARCELLUS. Clarinetist: Santa Barbara Grand Opera (Principal: current); Columbus Symph-OH(1990s-, +/-); also performs with the Santa Barbara Symph/Master Chorale/Choral Society. Active as achamber musician (incl perfs with the Montana Festival Chamber Ensemble while Artist-in-Res at the IntlComposer’s Conference-Talloires, France), recording artist (appears on the Battery Records, CRI, and NewWorld labels, and for NPR), and Southern CA freelance musician. Faculty member: Summer Music Institof the Intl Composer’s Conference (formerly); Univ of California-Santa Barbara (Prof of Clarinet/Dir ofWind Ensemble: current). Other positions/activities: Yamaha Artist; active as an adjudicator and clinician.Students include: Priscilla Balasa. Bib: “Paul Bambach.” University of California-Santa Barbara. http://www.music.ucsb.edu/NEW_MUSIC_SITE/FacultyPages/Bambach.htm (accessed February 14, 2011).

Barger, Diane Cawein. B. Sept. 12, 1966 (St. Petersburg, FL). BM/DM: Florida State Univ(1988/1999) with FRANK KOWALSKY; MM/Perf Cert: Northwestern Univ (1989/1990) with ROBERT

MARCELLUS and GREGORY SMITH. DM diss: “A Comparative Study of 19th Century Works forClarinet Based on Motives from Operas of Vincenzo Bellini.”

Clarinetist: Tampa Bay Chamber Orch (Second: 1984); Civic Orch of Chicago (Co-Principal/E-flat: 1988-90); Florida Orch (Sub: 1988-90; Second/E-flat: 1990-91); Tampa Bay Opera Orch (Principal:1991-92); Tallahassee Symph (Second: 1992-94); Naples Phil (Second/Bass: 1992-94); Moran WoodwindQuintet (1994-); Amilcare Chamber Ensemble (Co-Founder/Clarinetist: current); Lincoln Symph(Principal: current). Active as a recitalist (incl perfs at the MidWest ClariFest, the 1998 Oklahoma ClarinetSymposium, and at Broken Silence, A Benefit Concert for the Nebraska AIDS Project), soloist (incl perfswith the Tampa Bay and FSU Symphs, and the premiere of Scott McAllister’s “X” with the Univ of Nebraska-Lincoln Wind Ensemble), chamber musician (incl a perf with the Amilcare Chamber Ensembleat ClarinetFest 1997, and with the Moran Quintet at the 1996 IDRS Convention and the 1999 North CentraMENC Convention), and recording artist (with the Moran Woodwind Quintet on the Crystal Records label;also appears on Music from the ICA ’98 ).

Faculty member: Univ of South Florida (Clarinet Instructor: 1990-91); Univ of Nebraska-Lincoln(Assoc Prof of Clarinet/Chair of Woodwind, Brass and Percussion Div: 1994-); Great Plains Music Camp(active 1996-). Published inThe Clarinet.

Other positions/activities: Host, 1998 Midwest ClariFest; Woodwind Rep, MTNA PedagogyCommittee (current); active as an adjudicator, administrator (incl positions on various univ and sororitycommittees), clinician (master classes given at the 1998 Midwest ClariFest), and visual artist (with artworkfeatured on the cover ofClariNetwork ). Memb: AFM, ICA, MENC, Nebraska MEA, MTNA, NACWPI,Sigma Alpha Iota.

Hon: Collegiate Artist Woodwind State Award Winner, Florida MTNA (1986); Winner, TampaBay Symph Young Artist Compt (1987); 2nd Place, ClariNetwork Intl Young Clarinetist’s Compt (1987);

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Tallahassee Music Guild Schol (1987); Presser Scholar Foundation Schol, FSU (1987); Acad LeadershipAward, FSU (1988); Who’s Who in College Music, FSU (1988); “Outstanding

american clarinetists

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