EVERYTHING...

for the clarinetist

The very largest selection of professional instruments such as:

-Paris
~6&D

in all keys . . . Bb, A, C, D, Eb, Alto, Bass and Contrabass.

We offer the lowest price on the famous R-13 Buffet in the U.S. Hundreds in stock, including an excellent
supply of "A"s at all times. Lcblanc and Selmer also stocked in depth at extraordinary prices.

RELDSBY MOUTHPIECES BY LIGATURES BY

LaVoz Borbcck, Portnoy, S«?lmer, R.'Uterw, Luybcn,
Vandoren O'Brien, Sumner, Meyer, Sumner
Mitchell Lurio Vandoren & others BUFFET BARRELS - tost delivery
Vic Olivieri & more

Excellent Quality Scraping and Finishing Knives at $9.75 ea.

Clarinet Stands - $3.50ca.
Our Super Special on Buffet's Beginner Clarinet Continues . . . Brand new at $108.00 in case . . . incredible!

We of course sell famous saxophones to professionals and students at our typical discounts . . . saxophones
like Selmer, Buffet, King, Yamaha, Marigaux . . . and others. Famous flutes & double reeds, too.

CALIFORNIA MUSICAL INSTRUMENT CO.

1019 E. Vermont Avenue
Anaheim, CA 92805
Call (714) 533 8610

Mastercharge Bank Americard

 An announcement to Clarinetists who thought
the Selmer Series 10G was a truly matchless instrument:

l&c Seimci S&tiei

to$ in /4 C& &&ie.

This beautiful new instrument is beautifully matched musically,

mechanically, and in playing quality to the Series 10G
clarinet in Bb. The match was achieved under the
personal supervision of Anthony Gigliotti, first
clarinetist of the Philadelphia Orchestra.
The Series 10G, in Bb and A: Now
available singly or in sets through
your Selmer dealer.

Selmer
THE SELMER COMPANY
Box 310/Elkhart, Indiana 46515
 The International
Contents Spring 1979 Clarinet Society

An Interview with Karl Leister 6

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

Clarinet and Saxophone

The Rovner Rectangular

Bigger Sound — More Projection — Better Intonation

A new concept in clarinet barrel design that will

revolutionize the industry
Adds an additional vibrating air column
Made of Delrin by Dupont for stable pitch
Clearer and more centered throat tones

Patent
Pending

The Obvious Superior Ligature for all saxophones and clarinets

The New Rovner Light The Proven Rovner Dark

for a lively, brilliant, for a mellow, full,
projecting and big sound rich and warm sound

Both designs allow the reed to vibrate to their fullest potential, resulting in longer
reed life and greater ease in finding a good reed.
Both Light and Dark for all clarinets and saxophones

See your dealer or send for free brochure

ROVNER ACCESSORIES
Post Office Box 15006 Pikesville, Maryland 21208 U.S.A.
301-358-1920
Money Back Guarantee Dealer inquiries invited

The Clarinet — Spring 1979 5

An Interview with Karl Leister
Karl Leister was born in 1937 in Wilhelmshaven and first
studied clarinet with his father, formerly clarinetist and bass
clarinetist in the Radio Orchestra in Berlin. From 1953 to 1957
he studied at the Hochschule fur Musik with Heinrich Geuser.
In 1957 he was named clarinetist in the Orchester der Komischen
Oper Berlin under Walter Felsenstein, and in September of
1959 he became the Solo Clarinetist of the Berlin Philharmonic
Orchestra. He won important national and international
competitions and has recorded much of the standard solo and
chamber music literature for the clarinet. He presently serves
on the faculty of the Karajan Academy in Berlin.
In August of 1978 Leister appeared as a faculty soloist at
the International Clarinet Clinic/Congress at the University
of Toronto where his performances were met with unparal¬
leled enthusiasm. The following interview, taped during an
early morning breakfast during that Congress, was made with
Lee Gibson and james Gillespie. (The Editor wishes to thank
Noah Knepper for his assistance in the taping and photo¬
graphing of the session.)
LG: What is the tip opening of your mouthpiece?
KL: Not very open. It's a longer lay.
LG: I know what the German mouthpiece is. When 1 play on
my German clarinet, I use the original mouthpiece which is
very much like the one Michele Zukovsky plays. My facing
is very much like hers.
KL: When did you meet her?
LG: Last year and the year before.
KL: After she was in Berlin?
LG: Yes.
6 The Clarinet — Spring 1979
KL: Because I helped her with her mouthpiece. When she
came with the Los Angeles Philharmonic conducted by Zubin
Mehta she played for me, and she didn't have very good
mouthpieces. I found some mouthpieces with a facing like
mine, and she was very happy.
LG: I first heard her play with what I thought was a Wurlitzer
mouthpiece that she got with her clarinet, and then the next
year she was playing a different mouthpiece, but she still
doesn't sound like you do. The one I got from Hans Kreul I
presume he got from someone else. It looks just like the one
Michele was playing a few years ago.
KL: It's a problem to get a very good mouthpiece if you play
the German system in the States, isn't it?
LG: Yes. I still have the mouthpiece that came with my Ger¬
man clarinet when I went to Hammerschmidt to try out his
clarinet just outside of Innsbruck, Austria.
KL: The Viennese clarinet player plays the Hammerschmidt.
LG: Prinze?
KL: Yes, Prinze. I'll meet him in Salzburg when I go back.
LG: That's too bad he was unable to come to Toronto. I
realize from having blown both of the clarinets—that is the
Wurlitzer and the Hammerschmidt—that there's quite a dif¬
ference between them. They are entirely different in the bore
and in the undercutting.
KL: Wurlitzer for me at this time is the best clarinet maker
for my system because he changed something in the bore.
Ten years ago the bore was more open. Now it's smaller. It's
better for the intonation in the high register, and it's very nice
through all the scale. The sound is more compact, not broken
sometimes. He's a very fine clarinet maker.
LG: Do you know Rolf Kubli of Zurich?
KL: Yes.
LG: He also gets a very fine sound. He sounds the most like
you of any of the European clarinetists that I've heard. For
instance, in Munich I got the impression that players were
possibly still playing the older, larger bore clarinet, not like
the one that you're playing; and I thought that the intonation
was not quite as good as yours. But the Munich Philharmonic
I thought was excellent. I don't know the clarinetists. 1 didn't
get a chance to meet them.
KL: There is always something we must change because you
cannot get a clarinet with excellent intonation. It's impossible.
We must hear, and when we play we must change as we play.
It's very important when you play with a piano. It's very
difficult. These pianos here in Toronto are very low, but in
Germany they are tuned to 445.
LG: Did you play a longer barrel here?
KL: I didn't play the Wurlitzer clarinets when 1 played here
with the piano. You probably couldn't tell the difference. It
was a Uebel. It's 25 years old.
LG: So it is a larger bore instrument?
KL: It's lower. I know in the States you play at 440 or 442.
)G: Do you make your own reeds?
KL: No, I get them from Gebhard Steuer. He's the greatest
reed maker in Germany.
LG: We also want to ask you about the music schools in Berlin
and in Germany and the training which your students receive.
I presume you are teaching?
KL: Yes.
LG: Are they in a conservatory?
KL: No. 1 teach at the school of the Berlin Philharmonic—the
Karajan Academy. 1 also teach other private students. I'm not
at the high school in Berlin because then I couldn't play in the
orchestra. It's impossible to do both. It's either the high school
or the orchestra, and 1 like to play in this fantastic orchestra
conducted by Karajan. 1 think it's the best job I could have.
LG: Your schooling was obtained in Berlin?
KL: Yes, I studied in Berlin with Henrich Geuser. He's now
69 years old and he's stopped teaching.
JG: Was he your principal teacher?
KL: No, my principal teacher was my father. He was a clarinet
player, too. And when I began 1 got many fantastic things
from my father. He was a bass clarinet player with the Radio
Symphony Orchestra in Berlin. He stopped playing five years
ago when he was 65. He will be 70 this August. This was the
La Voz Corporation, P.O. Box 487, Sun Valley, Ca. 91352
beginning of my listening to the clarinet. My son is ten years
old, and he likes to play the cello. It's very interesting. 1 had
a tour with a chamber ensemble a few years ago and my son
came with me. He always listened to the cello, and afterwards
he said to me, "Oh, I want to play cello." And 1 asked him,
"Wfhy?" "Oh, it's a fantastic sound!" I liked this. He was
seven years old, and 1 said, "Oh, that's marvelous. I like the
cello, too." I mean the sound is nearly like the clarinet. You
can make almost the same sound on the clarinet as you can
on the cello. Its color is very similar to the clarinet.
JG: I was very interested that you chose to play the Saint-
Saens Sonata yesterday. In America we tend to think that
German players stay more with the traditional German liter¬
ature, and it was refreshing to hear otherwise. Are there
American works that are popular among German clarinet
players?
KL: Yes, but not so much. Do you think we ought to try to
play more American pieces?
JG: Yes.
KL: I have played Bernstein's Sonutn. It's very fine music and
rhythmic. I like it. Two years ago I played the Copland with
Copland conducting. That was at the Festival in Berlin. It was
a very fine moment for me to play this concert with Copland.
JG: Are those the two best known American works—the
Bernstein Sonata and the Copland Concerto?
PERSONALLY.
BECAUSE YOU DO.
Just as the
serious musician is
totally involved with, the
quality of bis performance, I
settle for nothing less than -total involve¬
ment with the quality of my products. No reed,
mouthpiece or^ ligature hearing my name will ever
reach you without my supervision. I make OAs kind of
personal commitment to you and your music.
And give you my best, r c , i
The Clarinet — Spring 1979 7
KL: Yes, and it's something we don't get in Germany.
LG: You mentioned the chamber music tour—did you go with
the Berlin Philharmonic Octet, or have you ever played with
them? I've heard them twice, and you haven't been with them.
KL: Yes, I have been in the orchestra 19 years, and I begin my
twentieth year in the Berlin Philharmonic. Before that, I stayed
in the opera d'comic under Walter Felsenstein in East Berlin
for three years. It was very interesting work for me right after
I got out of high school. I was 19 years old. After this I changed
in the same town and came to the Berlin Philharmonic.
LG: You were reared in which. East or West Berlin?
KL: We lived in West Berlin. Before the wall you could go to
East or West Berlin and work, but after the wall it was impos¬
sible. That's a hard place to see in Berlin—the wall.
LG: You did move to the Berlin Philharmonic before the wall,
though, didn't you?
KL: Yes, in 1959.
JG: Do you have any solo recording planned for the near
future?
KL: There's a new record out on which I play the Saverio
Mercadante Concerto. This is a romantic concerto with chamber
orchestra in only two movements—there's no slow move¬
ment. It's very technical—like Weber. The very last movement
is very interesting; it's a theme and variations. It's very fine
music. I made this for an Italian company. (See Discography.
Ed.)
JG: Have you recorded both Weber concertos?
KL: No, only one—the first—with Kubelik. My heart is in
chamber music and with the new ensemble in Berlin from the
winds of the Berlin Philharmonic. We play Mozart's C Minor
Serenade and the E-flat Major, and we have the fantastic piece
—the Partita for thirteen winds. We play many concerts, and
we play at the festivals in Salzburg, Berlin, and in many towns
in Germany. It's a fantastic ensemble, and we've made a new
program with the Dvorak Serenade and the Brahms Serenade
with strings. The first oboe player, Lothar Koch, is a fantastic
musician. I have a trio, too, for clarinet, cello, and piano named
the Brahms Trio. I like this combination with cello.
LG: What are the names of your collaborators in the trio?
KL: The cellist is Jorg Baumann, and David Levine, who stud¬
ied with Rudolph Serkin, is the pianist.
JG: Will we hear a Leister trio someday with your son?
KL: I hope so!
JG: Do your reeds that you buy from Steuer require a lot of
adjusting?
KL: Yes, because the weather affects the reed. It's always
changing.
JG: Do you plan to come back to Canada or America soon?
KL: Next year I'll be in Mexico City to play there. I don't
know exactly when yet, but the conductor of the Mexico City
Orchestra has asked me to come and do a lecture demonstra¬
tion like the one here in Toronto. There will also be chamber
8 The Clarinet — Spring 1979
music with a string quartet. To play with a string quartet is
one of the finest things we have.
JG: Did you know the Bliss Quintet that Jack Brymer played
last night?
KL: Yes, it's a very fine piece. He's a very fine man. I've known
him for 20 years. I first met him in Munich in 1957 when I
was playing for the Competition.
JG: You won it that year didn't you?
KL Yes, and five years later, too. It was very hard for me in
1962 because I had a name from being in the orchestra. I
thought I'd like to go there again and knew I would have to
play well.
LG: What is the name of the Munich Competition?
KL: It is the International Music Festival Competition. Clarinet
competition is held only every five years. There was a very
fine clarinet player who won it later.
LG: Frank Cohen? He won it in 1972? He plays First Clarinet
in the Cleveland Orchestra. Marcellus is retired and is now
conducting and teaching at Northwestern University. He is
also the Director of Music for the Interlochen Academy. He
divides his time between the two.
KL: Marcellus is a very fine player. I know him from records
and many records with George Szell and the Cleveland
Orchestra.
LG: Did he once conduct the Berlin Philharmonic?
KL: We made one record, and only one, with him and the
orchestra. He was a very fine conductor for records. We made
the Dvorak cello Concerto with Pierre Foumier. It is a marvel¬
ous record. He also conducted many concerts in Salzburg and
Berlin. The last time we met him was in Japan before he died.
LG: There are two clarinet makers named Hammerschmidt
aren't there? One near Innsbruck and the other in Germany?
KL: Yes, in Burgau in Schwaben.
LG: His catalogue of instruments is unrelated to that of the
Austrian?
KL: Yes, and he makes something to make the B-flat very
clear—a separate key. But now when you play the instrument
his B-flat is too clear.
LG: It's like the system on the Mazzeo or the Stubbins. For
some people the Stubbins B-flat has been insufficiently
resistive.
KL: Yes, because when you play B natural going to the B-flat,
there's too much change in the color. It's too clear. When we
play this sharp B-flat we must make a resonance in our mouth
because the air column is very short. I hold down the right
hand to get a longer, flowing, and more swinging tone. I think
that's important. We must change it.
JG: You do that also on A, don't you?
KL: Yes.
LG: I noted yesterday that on the instrument you were playing
that you hold your right hand down on the G and F#, but
one less finger on the A and the B-flat.
KL: Yes. It's very interesting to play a sound that you want to
play. The important thing is the mouthpiece and listening
before you play. When I play on a Boehm clarinet 1 try to get
the same sound as 1 play now. We must do more for the
sound in the music—to get our own voice. But there's some¬
thing else. We must ask ourselves what we like and find this
way, not stopping until we get it. That's important!
LG: But there is a characteristic, by the way, in listening to
your instruments as you play them and in comparing them
to all the other sounds we've heard. There are differences that
cannot be accounted for entirely by the preference of the
person for a particular sound. The instrument itself still does
make a difference. Did you hear Mitchell Lurie last night?
KL: No, but 1 have heard him before.
LG. The sound that he gets is much more characteristic of the
kind of sound we hear in America. I would have to say,
frankly, that my own personal preference is for your sound,
and 1 would not run down or disparage Mr. Lurie's sound
because it's very near, I'm sure, to the same kind of sound
I'm going to get if 1 play those instruments, as most of us do in
this country.
KL: But I think we have come closer together within the last
twenty years. You can hear it in the records.
JG: Even among the French players. Don't you find that the
French are changing?
KL: Yes. I talked with Mr. Delecluse when I met him in 1957
in Munich and we discussed tone. He told me I had a very
special sound, and he didn't like it. 1 don't know why.
LG: We find in this country that your sound is the kind of
sound we have always tried to get.
KL: This is what I mean—in our ideas we are coming closer
together.
LG: Actually I find there is much more communion with your
sound than with some of the other sounds we've heard. In
other words, we're trying for your sound, and as to how close
we can get with our clarinet—that's the problem.
KL: It's very important to practice together, to hear, and to
demonstrate, because you cannot only explain it, the student
must hear it.
LG: I have much more difficulty in adjusting to Jack Brymer's
sound, but I have no difficulty at all in adjusting to yours, and
that doesn't disparage his sound which is quite representative
of the way the English think they should play.
Kb Yes, in Great Britain it's another kind of clarinet playing.
But when Jack plays, it's not too heavy. It's very nice, always
light and swinging, but I don't like to make a vibrato.
LG: When I heard the Munich Philharmonic last—it was two
years ago—I found that the principal clarinetist was making
a sound which 1 characterize as the older German sound, not
your sound. I don't know the name of the player. It was harder
and heavier.
KL: When someone asks me this about the German sound,
I say it's not correct. 1 had a new idea about the sound, and I
don't think you can classify sound. We are all trying to find
the very beautiful sound. You cannot say that I'm a German
clarinet player, but I don't have a special sound like the
sound before.
JG: What influenced you? Did some player influence you in
developing your sound?
KL: No, it was just my own.
LG: How much influence did your father's sound have upon
yours?
KL: It was different because he started earlier. He had another
kind of playing. We had a very nice clarinet player in the
Berlin Philharmonic before. His name was Alfred Biirkner,
and I got this position in 1959. He was made second clarinet.
Now he is going out. He also played with a very fine sound,
like mine. I want to find a way to get a very concentrated
sound, but very clear, dark, and soft, too. Never hard or
broken—always singing.
NK: (Noah Knepper) Would you name some of the famous
older German clarinet players?
KL: Yes, we have some very famous and interesting clarinet
players: Schutte, who came from Dresden, Schreinicke from
Leipzig—he's very old—85. Another famous player was Rudolf
Gall from Munich. He died in 1962. There are others, too.
LG: In the Karajan Academy, do the students finish when
they receive a diploma?
KL: No, they study there when they finish the other high
school. They can play in the orchestra, too, sometimes. There's
a problem in that they don't receive a diploma now, but I
think it's coming because of the new high schools. It's very
interesting for the student to study here, and they get a
scholarship.
James Gillespie, left; Lee Gibson, center; Karl Leister, right.
CLARINETS FOR SALE
Boosey & Hawkes 1010, Bb & A in double case
Brand New . . . . $1,100 plus shipping
Call . . . Paul Drushler (716) 225-2154
Write - c/o Music Dept., SUC, Brockport, N.Y. 14420
10 The Clarinet — Spring 1979
LG: When you come to Mexico, you must come to visit us in
Texas.
JG: Thank you very much for your time.
Kb You are welcome, and I hope we can meet again.
JG: I hope so.
A Leister Discography
(All of the recordings may not be readily available in the
United States. Record numbers are provided in instances
where this information was known. Ed.)
Deutsche Grammophon Gesellschaft (Polidor International):
W. A. Mozart, Clarinet Concerto, KV 622; C. M. von Weber,
Clarinet Concerto No. 1, Op. 73; Berlin Philharmonic, Rafael
Kubelik conductor (136550)
W. A. Mozart, Sinfonia Concertante, KV 297b for Oboe, Clarinet,
Horn and Bassoon; Berlin Philharmonic, Karl Bohm conductor
(139156)
W. A. Mozart, Clarinet Quintet, KV 581; Berlin Philharmonic
Soloists (138996)
J. Brahms, Clarinet Quintet, Op. 115; Amadeus Quartet (139354)
J. Brahms, Clarinet Trio, Op. 114; with Christoph Eschenbach
(139398)
J. Brahms, Clarinet Sonatas, Op. 120 Nos. 1 and 2; with Jorg
Demus (2740117)
M. Reger, Clarinet Quintet, Op. 146; Drolc Quartet (2530303)
L. van Beethoven, Trio, Op. 38 (from Septet, Op. 20); Wolfgang
Bottcher, cello, Eckart Besch, piano (Archive Prod. 2533118)
L. van Beethoven, Trio for Clarinet, Cello, and Piano, Op. 11;
Pierre Fournier, cello, Wilhelm Kempff, piano (2720016)
L. van Beethoven, Sextet, Op. 71; Winds of the Berlin Phil¬
harmonic (2721129)
L. van Beethoven, Octet for Winds, Op. 103; Winds of the
Berlin Philharmonic (2721129; 2735002)
L. van Beethoven, Quintet for Piano and Winds, Op. 16; Jorg
Demus with the Winds of the Berlin Philharmonic (2721129;
2735002)
Brilliant Wind Music of Danzi, Stamitz, and Reicha; Wind
Quintet of the Berlin Philharmonic
Angel (EMI):
W. A. Mozart, Clarinet Concerto, KV 622; Berlin Philharmonic,
Herbert von Karajan conductor (S3783)
Eurodisc:
F. Schubert, Der Hirt auf dem Felsen, Op. 129; Erika Koth and
Giinther Weissenborn (ARXA 87 219K)
Italia:
S. Mercadante, Concerto for Clarinet and Chamber Orchestra
(1TL 70029) (Available in U.S.A. from Theodore Front Musical
Literature, 155 N. San Vicente Blvd., Beverly Hills, CA 90211).
The sax revolution.
Presenting the first feel-alike Alto and Soprano
saxophones ever.
The Yamaha YAS-62Ek Alto and YSS-62 Bk
Soprano saxophones. Six years in the designing and
prototype stages yielded some radical results.
We started by completely re-working our Alto
model. Concentrating on the tone, response and
intonation, we improved the position and design
of the tone holes, as well as redesigning the neck,
bore and bore taper.
Next we focused on feel. Larger key pearls
were specified for a more secure touch. There's
a low tone cluster on low O, B and Bl fa-
easier response on low notes. And key
positions, mechanisms and weight balances
have been redesigned and restructured for
maximum playing comfort.
Finally, we took all the technological
and concept advances made on our Alto
model and applied them to our
Soprano. The same posi¬
tioning of the keys, a
saxophone-first,
makes for easier
doubling and inter¬
changing. And the overall
sound and feel of these
instruments make them the
kind of ultimate saxophones
you'd expect from us.
We've responded to
the professional sax¬
ophonist's requests. You
must see, try and hear to
believe it. At your
Yamaha dealer now.
©YAMAHA

The Clarinet — Spring 1979 11

International Clarinet Congress
UNIVERSITY OF DENVER
AUGUST 13-17,1979
This international clinic presented by the Lament School
of Music of the University of Denver is designed to provide a
forum for the consideration of matters concerning the clarinet.
The week consists of a series of lectures, recitals and discus¬
sions on clarinet performance, pedagogy and manufacture.
Highly respected clinicians will examine, through lecture
and performance, current trends in literature, style and in¬
struction. Major clarinet manufacturers will present displays
of instruments. Literature displays by Luyben's Music of
Kansas City will be valuable in locating "hard to find" publica¬
tions and in discovering new works. Many sessions require
the use of several instruments (master session, clarinet choirs,
etc.), so be sure to bring your clarinet.
Fees and Housing. The enrollment fee is $99 if paid
before July 30. After that date, the fee is $109, which may be
paid at registration the morning of August 13. In an effort to
encourage students to attend, a special group rate of $79 per
person is available to any group of five students from the same
high school or college. Group forms must be received by
July 30. Husbands and wives wishing to register jointly may
do so for a single fee of $119. Other relatives are not subject
to this plan.
The University of Denver provides room and board
facilities for individuals and families. Housing reservations
must be made in advance of the opening of the clinic and are
independent of registration procedures. Housing information
will be mailed upon request.
Exhibits. Persons wishing to exhibit at the Clinic may do
so by forwarding the exhibit fee of $100. Set-up time is sched¬
uled for Sunday, August 12, 1979, at 1:00 p.m. Specification
of the number of 2' by 5' tables and other needs should be
included with the fee (see registration form).
Master Lesson and Symposium. This year's Clinic will
be preceded by a three-day private and group instruction sym¬
posium, August 9-11, headed by faculty members Leon Rus-
sianoff and Karl Leister (tentative). Each registrant in this
special class will receive two private lessons from the teacher
of his choice and will attend two group seminars. The Sym¬
posium will be held at the University of Denver. Tuition is
$150-$300. Mr. Russianoff also plans to be available in Denver
from July through the Congress. Write for specific information.
Anyone interested in having Karl Leister appear on their
campus while in the U. S. A. should notify Dr. Kireilis.
INTERNATIONAL CLARINET COMPETITION
Eligibility. The competition is open to anyone nineteen
years of age or under, not yet having entered college, from the
United States or any foreign country. Former first prize win¬
ners are not eligible to compete again.
Awards. The top three finalists will have their choice of
professional-line clarinets donated by Buffet, Selmer, Conn
or Yamaha. All semifinalists will receive favorable considera¬
tion for financial aid at the University of Denver pending
admission. Finalists will receive a full scholarship to the 1979
International Clarinet Clinic.
Applications. The following must be submitted by July
15, 1979.
1. Registration form
12 The Clarinet — Spring 1979
2. A nonrefundable $30 application fee
3. A monaural tape recorded in one direction only, at V-Vz
inches per second, of professional quality. Tapes not meet¬
ing these requirements will be eliminated at the preliminary
judging. Use of accompanist is optional.
All tapes become the property of the University of Denver.
Requirements. Submitted tapes must include the
following:
1. Baermann (Wagner)—Adagio
2. A one-sentence statement saying that the performance on
the tape is that of the contestant and indicating the record¬
ing date.
Competitors should also be prepared to perform the
above work for the semifinal round of competition.
The following work will be asked of those reaching the
final round: Weber, Concertino.
Preliminary Judging. Tapes will be judged by a profes¬
sional committee and eliminated if requirements for the com¬
petition are not met. Candidates accepted for the semifinal
competition will be notified as soon as possible after the
preliminary judging. Candidates must notify the International
Clarinet Competition of their intention to compete in the final
competition within ten days after acceptance.
Final Competition. All semifinalists will be heard Sunday,
August 12, on the University of Denver campus. At that time,
finalists for the Monday (August 13) final round will be
chosen.
At the Monday concert, which is open to the general
public, the finalists will perform. Winners will be announced
at the conclusion of the concert. Judges will be members of the
1979 International Clarinet Congress faculty.
Programs need not be memorized, and the University will
offer its piano faculty for contestants not bringing their own
accompanist.
INTERNATIONAL CLARINET CLINIC FACULTY
Leon Russianoff, renowned artist-teacher in New York
City. Sponsored by the Yamaha Corp.
John Denman, active London soloist and recording artist-
professor of music at the University of Arizona.
Ramon Kireilis, director of the International Clarinet
Congress and Competition.
Hans Rudolph Stalder, eminent Swiss clarinetist^ soloist
with the Tonhalle-Orchestra of Zurich.
Karl Leister, solo clarinetist with the Berlin Philharmonic;
faculty member of Karajan Academy of the Philharmonic.
The Congress intends to invite the following additional
clarinet artists;
Frank Cohen, solo clarinet, Cleveland Symphony Or¬
chestra.
George Silfies, solo clarinet, St. Louis Symphony Orches¬
tra.
Robert Marcellus, professor of music at Northwestern
University; former Cleveland Symphony Orchestra soloist.
And many more.
The Stein Comer
Overcoming Tension in Playing
by Keith Stein
Manifested tension in one's playing restricts his freedom
of response, accounting in part for his slow progress com¬
pared with the great amount of study and practice expended.
Tensions creep insidiously into one's playing. Soon he feels
comfortable with tension present as he plays and very strange
and at a loss when eliminated.
Tenseness commonly shows up in wrists and finger joints.
The clarinetist, who has played for some time this way is diffi¬
cult to convince that he is rigidly bound up. The cause may
originate from physical or mental sources—carrying the weight
of the instrument, particularly with the right hand thumb;
the strange arrangement of hands and fingers on the clarinet;
or possibly a sympathetic tightening up when blowing begins.
To play a single tone the beginner is required to simultan¬
eously arrange his lips into a certain muscular shape, make
airtight tone hole coverage, and stimulate the reed into vibra¬
tion with air flow. This immense undertaking is enough of
itself to initiate him into the world of tension.
As mentioned, tenseness can stem as well from mental
concern—fear of making mistakes; playing in public; frustra¬
tion from technical difficulties; inability to play high tones;
breaking the tone in throat tone crossing the register—to
mention only a few.
Another instance wherein tenseness is likely to develop
has its origin in the breath. More advanced players soon learn
(not from instruction) that more intensified flow of breath
affords a better tone quality by blowing up a greater number
• Music
Write for Free Price List | "Let-go" in the neck aided by weaving the head loosely
Dennis Bamber
219-272-8266
50741 U.S. 31 North | joints.
South Bend,
Indiana 46637
of overtones. Seizing upon what he figures to be a rewarding
thing he continues to blow more and more pressurized breath
until the air column becomes overfilled (the tone overblown);
the throat narrows with tension to resist this onslaught of air,
creating a backlog; and the nearby jaw and tongue sympa¬
thetically tighten up. The more effort he applies the more
encumbered he becomes with resistances, and thus he is able
to realize only a small percentage of his real capability. This
is one reason most players are far ahead musically and inter-
pretatively than they can play technically and tonally. Once
released from these restrictions they can play freely and
fluidly. Technique no longer occupies most of their concern
whereas phrasing, shading, execution of a beautiful legato
line, and other musical items can now receive the major
attention.
The thrust of thie brief discussion concentrates on treat¬
ing tension from the total body point of view first before
proceeding to particular areas. The idea is to proceed from the
general to the specific areas, first by placing the overall body
into the most favorable and receptive state for undertaking
any activity, tennis, golf, clarinet playing or whatever. Easeful
overall posture influences detailed areas to follow the pattern.
Formula for Overall Body Posture
We learn from the Alexander Technique (a system of
therapy based on posture, balance, relaxation, and correct
breathing) that total body relaxation is aided by a mental
order for the body to assume a continuous unceasing upward
direction beginning in the feet and proceeding through the
entire body up to and beyond the head. Making use of this
dynamic upnessjn one's daily living affords a sense of light¬
ness and ease as it opposes the bearing down of gravity.
The procedure is designed to first eliminate "sets" or rigid
fixing in any and all joints and muscles over the body. Stand
upright and think of an arrow beginning from the feet im¬
planted on the floor, ranging up through the ankles, calves,
trunk, neck and on through the top of the head and beyond.
The body must not physically raise itself in any way, the
dynamic "upness" achieved solely through mental dictation.
The physical body will then take over the mental command
and respond itself.
Let go in the ankles, then in the knee joints, flexing them
loosely to insure their full relaxation. Next "let go" in the hips
and weave them about like a belly dancer. At this point
mentally repeat the statement—"I want my back to lengthen
and widen, and my neck to "let-go" so that my head can lead
forward and up." Allow the head to limply drop the slightest
bit forward to insure that it does not set itself in a fixed back-
bard position. Caution—make certain the mental desire is in_
no way accompanied by physical movement to aid the matter.
back and forth (like an apple on a stick).
Gently sway the total body in one piece back and forth,
rocking from the bottoms of the feet in a delicate state of
imbalance. This maneuver helps the whole anatomy to main¬
tain a non set attitude the same as we try to establish in the
This then, is the most advantageous relaxed state for
overall body posture. The next step is to turn our attention to
the relaxation of specific parts. A following article will con¬
tinue with locating and treating particular areas where tension
is most likely to infiltrate.
The CUirinct — Spring 1979 13
 Studies in Contemporary Music for the
Pre-professional Clarinetist
by Allen Sigel
These two brief rhythmic studies are intended to intro¬
duce the clarinetist to rhythmic problems that will be encoun¬
tered in 20th-century music.
The PRELIMINARY STUDY avoids all but rhythmic
problems. These problems are incorporated into a steady 1
meter with varying groupings, articulations and accents. The
First of each eighth-note group should be stressed throughout.
A metronome should be used until an absolutely steady beat
can be maintained.
The METRIC-RHYTHMIC ETUDE changes meter con¬
tinuously. With few exceptions, however, there is a common
note value at each meter change. Where there is not a common
note value (beginning and end of section "B"), there is a com¬
mon speed factor, i.e. 4 = d Although this etude cannot
be played with a metronome, you can have fun with it by
having the teacher or a fellow student conduct the composi¬
tion. You will notice that it is composed of three sections:
"A", meas. 1-63; "B", meas. 64-81; "C", meas. 82-end. "A"
is characterized by a legato theme which gradually becomes
PREPARATORY STUDY
(with apologies to L. Bernstein)
a. / = 208 b. W = 104 c. p = 132
14 The Clarinet - Spring 1979
more animated as eighth and sixteenth-note patterns are intro¬
duced. Bring out clearly the beginning of the "A" theme in
meas. 1,8,29,45. Count carefully, taking care that the rests are
given their exact duration.
"B" is based on a three-note motive of rhythmic vitality.
It should be played with a keen sense of accent and as a transi¬
tion to the "C" section. "C" is a plagiarism for which Bizet
would, I trust, forgive the composer. Strong accents, firm
rhythm and precise dynamics will make it sound effective.
Meas. 91-93 present a variation of the scalar pattern intro¬
duced in meas. 21-22. Meas. 95-end present a motive intro¬
duced in meas. 32, which is related to the sixteenth-note
motive in Bizet's original melody, meas. 81.
A brief note on plagiarism: During earlier eras, especially
the Renaissance and Baroque periods, it was considered a
high form of praise to use another composer's material in
some fashion. This idea is still alive today, especially in jazz
improvisation where one is likely to hear "snatches" of old
tunes in a completely new dressing. It is in this spirit of good
fun that these short fragments have been incorporated.
Allen Sigel is Professor of Music at the State University of New York
at Buffalo. Prior to this association, he was for twelve years the principal
clarinetist with the Buffalo Philharmonic. He is presently at work on
a volume of contemporary clarinet studies with the serious younger
student in mind. It will be similar to his TWENTIETH CENTURY
CLARINETIST, but with less challenging technical demands. He
would appreciate hearing from anyone regarding-types of material
and/or problems recommended for inclusion. Write to: Allen Sigel,
Department of Music, State University of New York, Buffalo NY
742 74.
METRIC-RHYTHMIC ETUDE
(with apologies to G. Bizet)
d = 116
A Belgian Clarinettist Visits Canada

The Champaign-Urbana Clarinet Choir began the

program with the Third Prelude and Fugue from "Eight Little
by H. Bruce Lobaugh, University of Regina, Canada Preludes and Fugues" by Bach. Following Licorice-Stick Suite
by Sears, the choir performed Pavana by William Byrd and
During the summer of 1978, the Band and Orchestra ses¬ Petite Suite by Margaret Sisson Erickson. The choir will con¬
sions of the Saskatchewan Summer School of the Arts, located cluded this portion of the program under the direction of Pro¬
on the shore of one of the lakes of the Qu'Appelle Valley, fessor Howard Klug with French Suite by Yvonne Desportes
were pleased to welcome Freddy Arteel, solo clarinettist for and Rondo alia Turka from Mozart's Serenade No. 10 for
22 years with the Antwerp Philharmonic, as a faculty member. Thirteen Winds.
Not only was Mr. Arteel to be found as a member of the The University of Illinois Bands Clarinet Choir began
Faculty Wind Ensemble at SSSA and as a performer in cham¬ the second half of the program with the Barber of Seville
ber works (such as the Stravinsky Octet), but he also presented Overture by Rossini. Following Berceuse by Jarnefelt and
masterful performances of the Poulenc Sonata, Stravinsky's Seasonal Sketches by Everett Gates, guest soloists Ray
Three Pieces, the second Brahms Sonata, and a remarkable and Sasaki and Michael Chunn were featured in a performance
effective Belgian work, Andre LaPorte's Sequenza I (1964). of the Concerto in C Major for Two Trumpets by Antonio
It was of particular interest to note the differences in Vivaldi. Concluding the concert was a performance of the
performance style of Mr. Arteel's playing as compared to the Symphony No. 100 subtitled the "Military Symphony" by
North American style as represented by other members of the Franz Joseph Haydn.
Faculty (Don Oehler of the University of North Carolina, stu¬
dent of Joe Allard; Dennis Prime, doctoral student of Glenn
Bowen at Wisconsin; James Fitzpatrick of the Regina Sym¬ P.O. BOX 2824
phony, student of David Hite and Richard Waller; and the SHALL-u-mo KOC HhSTFR. N Y. 14626
writer, student of Marcellus, Gulick, and Hasty). Mr. Arteel's PUBLICATIONS
sound is more brilliant, and he himself regards his fundamen¬
tal orientation as being in the direction of the French school.
His dynamic range was quite wide (the first movement of the THE ALTISSIMO REGISTER
Stravinsky Pieces was nearly sub-tone in quality). Most strik¬ A PARTIAL APPROACH
ing, however, was his use of vibrato, which was a definite
shock and eye-opener to most of the students. It was taste¬ by
fully done and not continually present, but for most it was
difficult to accept that the standard literature could be done
in a way different from our own.
Mr. Arteel has recently returned to an older Selmer instru¬
ment after several years with Buffets (he mentioned pitch
problems in the altissimo register). He uses a standard key
arrangement, although he is interested in new register key a reference guide for
developments. He uses a Leblanc No. 6 mouthpiece (not easily
available in the U. S.) and ZVz-S Vandoren reeds. Altissimo Fingerings for
Mr. Arteel must have begun his career as soloist with the
Antwerp orchestra in his early twenties, because-although
his heavy teaching duties at the Konservatorium in Gent have
required that he discontinue with that group, his playing skill
has in no way diminished, and he now looks forward to in¬
creased chamber playing, which will include the performance 32 ir'xl?" pages present the clarinet's
of the clarinet chamber works of Brahms during the fall of partials and 83 selected fingerings from
1978. altissimo C*/Db to the 9th above D'/E*
All are derived from a methodical
University of Illinois Clarinet Choir
analysis of the harmonic series.
Presents Concert
Excerpts display preferred utilization for
On Sunday, December 10, 1978, at 2:00 P.M. the Cham-
paign-Urbana Clarinet Choir and the University of Illinois each fingering.
Bands Clarinet Choir presented a concert at the Harding EASY TO READ...NO PAGE THUMBING
Band on the campus of the University of Illinois. (1103 South
Sixth Street, Champaign, Illinois 61820) The program was Space for your personalization
under the direction of Harvey Hermann, conductor of the
choirs, and Howard Klug, Professor of Clarinet with the Uni¬ $9.50
versity of Illinois School of Music.
Appearing as guest soloists in a performance of Vivaldi's ORDERS UNDER $10, INCLUDE 50C
Concerto in C Major for Two Trumpets were Ray Sasaki, FOR POSTAGE AND HANDLING.
Professor of Trumpet with the University of Illinois School of N.Y. STATE RESIDENTS ADD 7% TAX.
Music, and Michael Chunn, Brass Assistant with the Univer¬ Please be sure to include your name, address, and check.
sity of Illinois Bands.
The Ctarinel — Spring 15
A Translation and Commentary of Heinz
Becker's 'The Chalumeau in the Works of Telemann"1
by Albert R. Rice
With the fine performances of Hans Rudolf Stalder on the
sopranino and soprano chalumeaux at the last International
Clarinet Clinic in Denver, many clarinetists and teachers were
favorably initiated to the sound of the chalumeau. It then
seems appropriate to present the following translation of a
short but important paper that deals with this little-known
instrument. Becker subsequently published a long and
thorough study of the chalumeau in a collection of essays
honoring the German scholar, Heinrich Husmann." Small
letters refer to footnotes in the original article; arabic numerals
refer to my commentary.
From the autobiographical representation which Telemann
left for his Hamburg cathedral colleague Johann Mattheson,
for the printing of his Ehrenpforte (Triumphal Arch), we learn
that Telemann during his stay in Hildesheim made himself
familiar "with the oboe, the transverse flute, the chalumeau,
the gamba" and so on.3 In contrast to Mattheson, who in his
Neu-eroffnele Orchestre (Newly inaugurated orchestra) comments
rather unfavorably on the sound of the chalumeau,4 Telemann
must have had entirely better experiences with this instru¬
ment, because he prescribes it repeatedly in his scores and
even employs it soloistically. Since the chalumeau is also used
by numerous other contemporary composers, this remark of
Mattheson's does not seem to deserve the weight given to it
up to this point in the musicological literature. Until now one
assumed that the chalumeau was a primitive instrument, little
variable in respect to its sound and unqualified for a higher
claim to art. Just the impressive list of composers who pre¬
scribed this instrument in their scores, however, provides us
with doubt in this assumption. Here we meet upon such
names as: Attilio Ariosti, both Bononcini's, Josef Bonno, Karl
Ditters von Dittersdorf, Johann Friedrich Fasch, Johann Josef
Fux, Christoph Willibald Gluck, Christoph Graupner, Georg
Friedrich Handel, Johann Adolf Hasse, David Heinichen,
Reinhard Keiser, Johann Melchior Molter, Georg Philipp Tele¬
mann, Jan Dismas Zelenka, and others. We know now more
than twenty notable composers in the first half of the eigh¬
teenth century who composed for the chalumeau and appar¬
ently to whom neither its sound appeared too rough nor its
technical playing possibilities too small.5 When therefore,
Diderot-D'Alembert, in the Lutherie of their Encyclopedie
(1753), designate the sound of the chalumeau in the sense of
Mattheson as "sauvage et desagreable" (savage and disagree¬
able) and give the reference that this instrument is no longer
in use in France, then the question appears to us whether in
each case under the designation chalumeau one and the same
instrument was meant."
Probably it is no coincidence that all proofs for the
employment of the chalumeau in art music originate in the
eighteenth century. None of the known scores of the seven¬
teenth century exhibits a chalumeau part.7 We are able to
reason from that that the chalumeau was not developed until
the end of the seventeenth century. Telemann's remark on the
chalumeau in his autobiography refers to his stay in Hilde¬
sheim, which falls in the years 1697-1701. Here Telemann
gained contact to French musicians of the court of Braun¬
schweig. These relationships can be called upon to a certain
extent as evidence for the French origin of this instrument,
which is even supported by the French name of the instru-
16 The CLumet — Spring
ment. Therefore much evidence points out that in the course
of the transformation of woodwind instruments, which ema¬
nated from Paris in the seventeenth century, the chalumeau
also came to light toward the end of the seventeenth century
in Parisian workshops.
The dissemination of new instruments corresponds first
to the path of migration which the player of this instrument
takes. Thus, we must direct ourselves to the early history of
the instrument, in which it was not yet generally disseminated
but we expect to find it at individual centers. Then an instru¬
mental topography could be set up to a certain extent, which
becomes recognizable by way of the origin of the early litera¬
ture of this instrument. Ariosti, Ziana, both Bononcinis, and
Ferdinand Tobias Richter, in whose scores we find the chalu¬
meau indicated in the first decade of the eighteenth century,
temporarily lived or worked in Vienna. Ludwig Ritter von
Kochel in his work on Die kaiserliche Hofmusikkapelle zu Wren
von 1543 bis 1867 (The Imperial Court Music Orchestra at Vienna
from 1543 to 1867, Vienna, 1869) actually was able to prove by
documentation that chalumeau players were employed about
1710 in Vienna. Telemann's experience in Braunschweig was
confirmed by the use of the chalumeau particularly with Rein-
hard Keiser who, as is well known, before his time in Ham¬
burg was employed as conductor in Braunschweig before
1695. Additional centers for the cultivation of chalumeau
playing can be located in Dresden (Hasse, Heinichen, Zel¬
enka), Frankfurt (Telemann, Konig) and Darmstadt (Graup¬
ner). In no case here have we knowledge of the players of the
instrument.8
Joseph Friedrich Bernhar^ Caspar Majer offers the most
thorough contemporary source for the chalumeau, in his
Museum Musicum which appeared in 1732. Here a description
is given in paragraph 5 of section II, which is borrowed literally
from Walther's Lexicon.
Chalumeau... a shawm or shepherd's pipe made from
some parts of cane called calamus. Besides this meaning,
it is also found as the chanter in a bagpipe. Furthermore,
it is a small woodwind instrument that has seven holes
and a range from f to a". Also the name for a little wind
instrument made from boxwood that has seven holes,
two brass keys up near the mouthpiece, and an additional
a partes hole near the bottom. It has a range of from P to
a" and b"-flat, possibly also to b" and c"'.Q
Only the two last mentioned types are of interest to us:
1. The keyless chalumeau with seven frontal bore holes,
range: P to a".
2. The same instrument with two keys and dorsal hole, range:
P to b"-flat (b", c'").
The first type is represented by Diderot-D'Alembert in their
encyclopedia with the reference that it was in their time (1753)
no longer in use. Contrary to the statements of Majer, this
instrument is depicted with a dorsal hole or thumb hole, and
it must also be assumed to exist on Majer's instrument on the
basis of the range (to a") given by him.10 Majer's indication
that the range of the keyed-chalumeau occasionally extended
up to c'" is remarkable. Therefore, because this range is con¬
firmed by a contemporary theoretician, this instrument, if only
occasionally, was able to overblow since the c"' lies beyond
its fundamental scale.11
 The next paragraph in Majer's Museum Musicum, which is
independent and was not taken from Walther's Lexicon, tells
us that the instrument was built as a family.
One has usually soprano, alto or fourth chalumeaux, also
tenor and bass chalumeaux, some with French and some
with German pitch. They are, particularly because of the
clumsy mouthpiece, very hard to blow. Their fingerings
correspond most closely with the flutes [recorders], but
their range does not extend much over an octave. There¬
fore, it is thought unnecessary to report at further length
on this matter, especially since if one is able to play the
flutes one can also perform on them easily.12
Therefore, we are dealing here with an instrumental type,
which evidently was built after the Flute a bee (recorder).
Presumably one wanted to replace the flute, which no longer
satisfied the standards of the time with its soft tone, by an
instrument stronger in sound. Much evidence speaks for this
assumption, evidence whose discussion would go beyond the
scope of our topic.
Telemann employs the chalumeau in several works, as
in the cantatas "Danket dem Herm Zebaoth" (1718), "Der
feste Grund Gottes" (1721), "Mit Gott im Gnadenbunde,"
"Christus ist um unserer Missetat willen" (1721), "Sehet man
die Exempel der Alten" (1748). In the opera "Genserich" (also
known as 'Sieg der Schonheit"), in his passion oratorio
"Seliges Erwagen," and in several instrumental works. Since
the musicological Literature up to now has offered hardly any
investigations concerning this instrument,3 it appears justified
to help clarify the use of this instrument, particularly in view
of the forthcoming edition of the works of Telemann. Tele-
mann's concertos in D minor'3 and C major (Mus. 1033/38;
Mus. 1033/50) are of special interest in this context. Also the
sonata in F major (Mus. 1042/14) and the overture in F major
(Mus. 1034/10)M which are preserved in copies in the state
and university library of Darmstadt. In these scores the chalu¬
meaux are continually employed in pairs, each time a soprano
chalumeau will be used with either a tenor or a bass.
These observations indeed offer no ultimate validity for
the investigation of the playing possibilities and the playing
boundaries of this instrument, they only add support for some
conclusions. Moreover, it is important to ascertain the note
possibilities that can actually be played by the performer.
Only the key notation permits us a clear picture of the range.
This principle is illustrated with the aid of the scores of Tele¬
mann. In the F major sonata (1042/14) both chalumeaux are
notated in the sounding pitch as a comparison with the other
instrumental parts proves. For the first chalumeau the soprano
clef is used and c' and f" are the limit tones. This instrument
is therefore clearly a fourth lower, as Majer stated in his
Museum musicum. We are able to make this observation con¬
cerning the concerto in C major (1033/38). Also since the first
chalumeau is written here in the same key as the violins and
the basso continue, it is therefore a matter of sounding nota¬
tion. The range corresponds with the boundary tones of the
F major sonata, c' to f". Now an instrumental part to this con¬
certo is fortunately preserved and this shows that the part for
the first chalumeau is not in C major as in the score, but was
notated in F major. The part is therefore written transposed,
and indeed, as a comparison with the score proves, transposed
a fourth lower. The impression, which both scores give, that
in both cases it is a matter of a non-transposing instrument
in C, is therefore false. Actually, we are dealing here with the
fourth chalumeau mentioned by Majer, that sounds a fourth
lower as it is played. Therefore, the range c' to f", which was
investigated with the aid of the score, must be placed about
a fourth higher so that the notated range corresponds with the
compass, as Majer states it, P to b". Other non-diatonic tones
which appear are b', c"-sharp and f"-sharp. This means that
on the chalumeau the chromatic seven degrees between a'
and g were able to have been played. The second chalumeau
employs the range from low F to a, G-sharp, c-sharp, d-sharp
and f-sharp are required as chromatic tones.
Concerto in C major (1033/38): 1st Chalumeau
-••• 4
4^
iAM 1 .r? Ft=
V *9 P
y l -U I ' [
The concerto in D minor (1033/50) confirms our observa¬
tions. The first chalumeau is key notated in the score, thus
written transposed. Therefore, here we are likewise dealing
with the fourth chalumeau. The chromatic tones required are
b and g-sharp/a-flat, which is newly added, and c"-sharp.
With this work our chromatic scale widens from g' to g".15
An examination of the overture in F major (1034/10) leads
to the same result. The chalumeau part that is written in pitch
notation moves within the ascertained boundary tones f and
b"-flat. The second chalumeau remains in the sound area F
to b-flat. The second chalumeau remains in the sound area
F to b-flat. Let us summarize: Telemann employs in all of
these scores chalumeaux, which correspond to the types as
Majer explained them in his Museum musicum, i.e., instruments
with two keys, that covered both the highest tone holes. Tele¬
mann accordingly does without the overblown register, per¬
haps because the sound did not please him. Majer's reference
to the c'" at least proves that the instrument was able to be
overblown, evidently however only the lowest tone of the
overblown register was employed. That Telemann did not by
chance avoid the overblown register, but rather intentionally
avoided it, is proved by a passage in his F major overture
(1034/10). Here a tone sequence which logically should be
continued upward is broken and the succession shifted to the
lower octave, doubtless in order to avoid the c'".
Overture in F major (1034/10)
- r f t "f 'f——
The boundary tones and the pitches of a wind instrument
can offer us evidence which instrumental types were drawn
to the performance of the scores in question. In addition, the
playing figures give us an approximate indication for the
technical operating ability of the players and the intonational
breadth of variation of the instruments. Generally, it may be
said that Telemann assigns to the chalumeaux passages which
are really agile in the allegro movements, with runs and chor-
dal playing in sixteenth-note movement. Majer's observation
The Clarinet — Spring 1979 17
that the chalumeau is, due to its "clumsy mouthpiece very Soprano and Alto Chalumeaux in the Music History Museum,
hard to blow," surprises, in view of these virtuoso demands. Stockholm
It is particularly conspicuous that Telemann writes for both
chalumeaux over long sections and does not hesitate to add
to these solo segments a few rather pronounced chromatic
tone sequences. Had the intonation of the instruments really
been so unsatisfactory as the contemporary reports want us
to believe, then one would have easily been able to do without
passages that were so difficult. If Telemann avoids on the one
hand in such a conspicuous manner the overblown register 'illustration one
because of its unsatisfactory sound, then we must assume on
the other hand that the chromatic melody steps which he
prescribes in his scores were performed satisfactorily by the
performers. That the players in this case must have adjusted
their embouchures to correct faulty pitches can be concluded
from the extended use of chromaticism in the slow movements.
C
(1042/14) Allegro illustration two

(1033/50) Allegro
(1033/50) Largo
Solo
In view of the employment of the chalumeau, which is
really pretentious and frequent, in the scores of the early
eighteenth century, it surprises that this instrument apparently
disappeared without any trace from the contemporary instru¬
mental stock. None of the European instrumental collections
were able to show an example, so that in 1938, Adam Carse
described the instrument as a "will-o'-the-wisp" among the
wind instruments.16 The author even formulated in 1954, in
the composition of his article "Clarinet" in Musik in Geschichte
und Gegenwart, that no original instruments are extant. In the
meantime, a collection of these instruments, which comes from
the possession of the University of Lund, was identified in the
Music Historical Museum in Stockholm.17 All the instruments
exhibit a conspicuous maker's mark placed on the bore, as
it was employed on the clarinet which came in use at the same
time. The bore of these chalumeaux all end in a foot or rudi¬
mentary bell, except for one instrument which has no bell.
Here the flute douce [recorder] should not be overlooked as
a calculated model. In making these instruments the lowest
(first) tone hole is drilled twice, so that the tone f-sharp results
through covering half the hole.18 The foot is movable and
makes any position of the hands possible through a lateral
turn (see illustration one). The brand marks carry the names
of Liebav and KJenig, who are known as instrumental makers
at this time. However, we do not know more about their work¬
ing places. The most conspicuous instrument of this group
is a chalumeau with the firm name MULLER [sic] (see illustra¬
tion two). It differs clearly from the other chalumeaux. The
body of this instrument ends smoothly, without a foot or
rudimentary bell, as in the other chalumeaux. The right hand
is fixed for the lower half of the tube since the lowest tone
18 The Clarinet — Spring 1979
hole, which was bored twice, was placed on the right side. For
this reason, this instrument may belong to a later time. It has,
besides both keys for a' and b'^flat, five extra keys.10 The
two lowest keys extend the range downwards since they are
open keys. Two of the closed keys served apparently to pro¬
duce the tones g'-sharp and g"-sharp. Both long-stemmed
keys of this instrument are a positive support that this instru¬
ment was overblown, and therefore already able .to be used
for a considerable range. None of these instruments are dated.
If we consider the keyless chalumeau that Diderot-d'Alembert
still represented in 1753, then these instruments show that we
are faced with no uniform instrumental development with the
chalumeau. We must expect that a considerable number of
different types and special forms of this instrument existed.
When Telemann in the foreword to his "Harmonischen
Gottesdienst" of 1725 named the "middle chalumeau" among
the instruments which were able to replace an absent singer,
then this mention of the chalumeau affirms that Telemann
assumed the existence of the chalumeau in as many places as
this music was distributed.20 Hans Engel's conjecture, in his
book Das Instrumentalkonzert (The Instrumental Concerto,
1932), that Telemann's chalumeau concertos were in actuality
the earliest clarinet concertos, cannot be confirmed from the
standpoint of the organologist.21 Telemann's chalumeau con¬
certos are not clarinet concertos; they are actually authentic
chalumeau concertos. The almost identical sound quality of
the chalumeau and clarinet justifies the performance of the
chalumeau parts on the clarinet, providing that none of the
existing reconstructed chalumeaux are available.22
'Heinz Becker, "Das Chalumeau bei Telemann," Konfercnz-
Iwriiht tier ?. Mitgdeburger Telemann-Festta^e vom 12, bis 2b. juni I9b7.
2d part, editing by Giinter Fleischhauer and Walter Siegmund-
Schultze (Magdeburg: Deutsche Kulturband, 1969): 68-76.
"Heinz Becker, "Das Chalumeau im 18. Jahrhundert," Spe¬
culum Muziitie Arli>. Festgabe fur Heinrich Huttnann iuw bO. Geburt-
<tiiy (Munchen: Wilhelm Fink, 1970): 23-46.
"Johonn Mattheson, GrundLigr eiiwr Ehren-Pforte (Hamburg,
1740, reprint ed., ed. by Max Schneider, Kassel: Barenreiter, 1969),
357.
 4
Johann Mattheson, Das Neu-Eroffnete Orchetlre (Hamburg:
Benjamin Schillers Wittwe, 1713), 272: "The so-called chalu-
meaux may be allowed to voice their somewhat howling sym¬
phony of an evening, perhaps in June or July and from a distance,
but never in January at a serenade on the water", Oskar Kroll,
The Clarinet (New York: Taplinger, 1968), 15. Becker explains in
his MCG (1958) article (translated by Dyke Kiel, The Clarinet 2,
no. 3 (May, 1975): 6) that Mattheson is probably indicating the
mixed use of transposing and different sizes of chalumeaux.
5 ,4
A list of musical works using the chalumeau appears in my
thesis "Valentin Roeser's Essay on the clarinet (1764) Background
and Commentary" (Claremont Graduate School, 1977), 138-152.
It contains no less than 83 works by 28 composers, and recently
Hans Stalder has supplied me with four more composers and
seven works to this impressive list.
"Etnyilopedie, ou Dictionnaire raisoime i/es sin'iurs, i/cs aii> et de>
metiers par tin societe de gens de left re* (Paris: Briasson, David, Le
Breton, 1753), vol. 3, 40: "The chalumeau has a savage and dis¬
agreeable sound; that is, it is usually played by an ordinary
musician because there is no instrument that is not able to please
under the fingers of a superior man...". There is one earlier
reference to the chalumeau which probably also refers to the
"unimproved" keyless type of instrument described in the Etuy-
clopedie. Johann Walter states in his Praecepla dcr ini<>iiali*clie>i Com¬
position (1708, ed. by Peter Benary, Leipzig: Breitkopf & Hartel,
1955), 43: Chalemau is a short wind instrument giving a sound
similar to when a person sings through his teeth."
7 Miiller and Liebav and three altos, one by Liebav and two by
Becker excludes the first and second books for the Mock
Trumpet (a keyless-chalumeau) from his category of "art music."
These books appeared in 1698 and 1699 and are discussed by
Thurston Dart, "The Mock Trumpet," Galpin Society Journal t>
(July 1953): 35-40 and Colin Lawson, "The Early Chalumeau
Duets," Galpin Society Journal 27 (April 1974): 125-129.
'"'The names of two chalumeau players who also played the
oboe are found in Ludwig von Kochel, Johann Joseph Fux (Wien,
1872), 384, 389; according to Becker in "Das Chalumeau im 18.
Jahrhundert," 34. Joseph Lorber is cited as being active on August
3, 1718 and Andre Wittmann on April 21, 1721. Jacques Burdet
mentions the chalumeau player Louis Augier who played at a
wine festival in Vevey on August 8, 1750, in La musiijue dans le
pays de vaud sous le regime hernois 1151 79SI (Lausanne: Payot,
1963), 508.
J.F.B.C. Majer, Museum musicuni (1732), facsimile ed., ed. by
Heinz Becker (Kassel and Basel: Barenreiter, 1954), 32. Compare
the translation given by Angela Maria Owen in "The Chalumeau
and its Music," American Recorder 5, no. 1 (1967): 7.
11
Encyclopedie. Recueil des Planches (Paris: Briasson, David,
Le Breton, 1767), vol. 5, plate 8, s.v. "Lutherie, suite des Instru¬
ments a vent."
Cary Karp maintains that the chalumeaux in the Music
History Museum in Stockholm can be played in both their over¬
blown and their fundamental registers but require a different reed
for each register, "Chalumeaux," Galpin Society ]ournal (1978,
forthcoming).
Compare Heinz Becker, "Zur Geschichte der Klarinette im
18. Jahrhundert," Di Musikforschung 8 (1955): 277, English trans,
by Don Halloran (August 1971, typewritten).
O. Kroll, Das Chalumeau," Zeitschrift liir Musikwissenschalt
(1932/33): 374-8, still did not know Telemann's Darmstadt manu¬
scripts. Edgar Hunt, "Some Light on the Chalumeau," Galpin
Society lournal 14 (1961): 4 1-4 examines onlv two works of
Graupner.
'"'An edition of this fine work was published in 1973 by
Musica Rara (no. 1633 a/b) for two clarinets, strings and keyboard
edited by Hermann Dechant. The score and keyboard part in¬
cludes the chalumeau parts notated in their original clefs. Two
excellent recordings of this work have appeared: Dieter Klocker,
Andreas Bonifert (clarinets) with the Heidelberg Chamber Orches¬
tra on Da Camera 91015 or Musical Heritage Society 1512; and
Hans Rudolf Stalder, Heinz Hofer (soprano and alto chalumeaux)
with the Glarner Musikkollegium directed by Rudolf Aschmann
on Rimaphon 30-036.
A recent edition of this work for soprano and alto recorders
or two alto recorders and continue is published by Moeck Verlag
(no. 425/526) of Celle, West Germany (1974) edited by Use
Hechler.
John Henry van der Meer formulated the following ranges
for the chalumeaux consort in "The Chalumeau Problem," Galpin
Society lournal 15 (March 1962): 90; discant: f to b"-flat, b" or c'";
alt or quart: c to f"; tenor: f to b"-flat (written an octave lower);
bass: c to f (written an octave lower). However, it is quite likely
that chalumeaux were also built in other sizes in order to be able
to be played in sharp keys, as consorts of shawms were built in
the seventeenth century, e.g., tenor in C, alto in G, soprano in D
and Kleindiscant in A. See David Munrow, fris/rHmruts of the Middle
Ages and Renaissance (Oxford: O.U.P., 1976), 41.
Adam Carse, Musical Wind Insirutnents (London: Macmillan
and Co., 1939, reprint New York: Da Capo, 1965), 150.
' Originally this museum owned soprano chalumeaux by
Klenig. The alto chalumeau by Liebav is now missing. See, Cary
Karp, Baroque Woodwind in the Musikhistoriska Museet,
Stockholm," Galpin Society journal 25 (June 1972): 82. For discus¬
sions concerning two Denner chalumeaux that are extant in the
Bavarian National Museum see Kurt Birsak, "Das Dreiklappen-
Chalumeau im Bayerischen Nationalcnuseum in Munchen,"*Dii'
Musikforschung 26, no. 4 (October-December 1973): 493-7; "Die
Stimmung des Klappenchalumeau von l.C. Denner Ein Nachtrag,"
Die Musikforschung 28, no. 1 (January-March 1975): 82; and Jiirgen
Eppelsheim, "Das Denner-Chalumeau des Bayerischen National-
museums, Die Musikforschung 26, no. 4 (October-December
1973): 498-500.
''My own Moeck tenor chalumeaure is made with four
double holes presumably because the chromatic pitches are more
easily played in this manner. These holes produce the following
pitches: c-sharp, d-sharp, f-sharp, and g-sharp.
At this point an error appeared in this article when Becker
mentioned that this instrument has only four extra keys. This has
been changed to five since the Miiller instrument is listed as hav¬
ing a total of seven keys in Becker's "Das Chalumeau im 18.
Jahrhundert," 37-9. The five extra keys can also be seen in illus¬
tration one.
20
See, Georg Philipp Telemann, Musikalische Wcrkc. Vol. 2
(1953), "Der Harmonische Gottendienst," (1725/26), ed. by
Gustav Fock, VI.
"'Hans Engel, Das Instrumentalkonzert (Leipzig: Breitkopf &
Hartel, 1932). 89.
"Among the makers that offer reconstructed chalumeaux
are: Jonathan Bosworth (29 Main St., Acton, Mass. 01720); Hopf
(Bath Music Centre Ltd., 4&5 Green St., Bath, Avon., England);
Moeck Verlag (D 3100 Celle, Postfach 143, West Germany); and
Trevor Robinson (65 Pine St., Amherst, Mass. 01002).
The Clarinet — Spring 1979 19
JOHN DENMAN at The Wigmore
Hall, London. 2 July 1978

by Victor SI ay mark The fullness of time however has given Denman's playing
a maturity and depth of feeling which never descends to
My dilemma when asked to write a review of a recital by sentimentality and which at The Wigmore Hall, was most
John Denman is that we have been colleagues and close satisfying.
friends for many years, which makes it difficult to write an
objective critique and to sound other than totally eulogistic.
The interest which his recital of the Wigmore Hall, London, Keith Puddy in Recital and Workshop
on 2 July 1978, aroused in me was one of comparison between
his performance of the English programme that he played and at Brandon University
his version of the same works on record, English Wind Music
Vol. One, Revolution Records RCF 009 dating from 1971.
The sonatas that he chose were by Bax, Ireland and Stan¬
ford and as well as these, he played The Five Bagatelles by
Gerald Finzi and the Sonata Capriccioso by Eric Hughes, a
programme, the more interesting for the closeness with which
all the composers stand to each other. The sonatas are close
to my heart and 1 find them to be unjustly neglected by
clarinet players in preference to the handfull of works that
form the basis of the majority of recitals. I must allow that
there are probably works from almost every country which
could fall into the same category and would welcome their
advocacy by like minded players.
Denman's 1971 disc was a poorly recorded affair by any
standards lacking any presence and impervious to any amount
of knob twiddling. It did no justice to his broad rich sound
and so the slightly resonant acoustic of the elegant Wigmore
Hall, a more delightful concert hall would be hard to find,
gave Denman the room to make his tone tell to full effect and
gave the audience a chance to hear the subtle nuances of his
performance which poor quality recording fails to convey.
As one would hope his interpretation has matured, tempos
markedly slower in most instances, except in the second
movement of the Bax, which was faster than I have ever heard
it played and although it was rhythmic and fairly well under
control, was not really sensible and necessitated excessive by James Manishen
tempo changes later in the movement. This may have been
intentional but was certainly not to my taste and is better on On October 11th, the eminent British clarinettist Keith
the recording. However, The Ireland was superb, wonderful Puddy gave a performance of the Beethoven Trio Op. 11 and
dynamics and lyrical playing, full of ebbs and flows of tempo the Messiaen "Quartet for the End of Time." He was assisted
that perfectly suited the rhapsodic character of the music. by The Music Group of London whose members are Ralph
Despite my desire not to go overboard in praise of a friend, Holmes, violin; Eileen Croxford, cello; and David Parkhouse,
in the Ireland I was not conscious of a technique at work, but piano. Mr. Puddy, who was a student of both Reginald Kell
of a mature musician at the peak of his powers, giving a and Jack Brymer, began his professional career as Principal
thought-out interpretation of great insight. The Stanford Clarinet with the Halle Orchestra under the late Sir John
seemed slightly pale by comparison with the Bax and Ireland, Barbirolli, and at present devotes most of his time to chamber
the interpretation being much the same as for the record. The music, solo work and teaching. He is an Honorary Fellow and
Finzi pieces, as always, came up fresh and Denman was professor at the Trinity College of Music in London and an
obviously enjoying himself with them. The Eric Hughes which associate member of the Royal Academy of Music. His record¬
I believe was written for Denman, a very welcome addition ings of the Mozart Concerto (Classics for Pleasure 40046);
to the repertoire, was much more interesting than on the Mozart Quintet (Classics for Pleasure 121); and Brahms Quin¬
recording, about the same tempos but more flexible and with tet (Monitor S 2142) have been widely acclaimed.
wider dynamic levels. I remember The Music Group of London's superbly
At the end of the recital Denman was joined by Beth polished accounts of the Beethoven "Archduke" Trio and the
Fogel, an American clarinetist, for a light-hearted romp Brahms Horn Trio (with Alan Civil, hom) when they per¬
through Kreisler's "Schon Rosmarin" which sent the audience formed for Western Manitoba audiences several years ago.
away smiling. John Denman is very fortunate in his choice This recent performance was certainly of that level, with
of accompanists, the excellent Hazel Vivianne on the record masterly playing from Mr. Puddy.
and at the Wigmore Hall, Paula Fan, who matched his ideas The following day five of my students primed Mr. Puddy
and varieties of mood with great sensitivity. Her accompani¬ with questions after his most helpful comments on their per¬
ment of the Bax was quite marvellous. formances of the Schumann Romances Op.94, Stravinsky
On balance then, the playing on the record is technically Pieces and Sutermeister Capriccio at a workshop for them. His
accomplished but somewhat unyielding, tense and unrelaxed. engaging presence and superb artistry were enjoyed by all.
20 The Clarinet — Spring 1979
Record Review
by Henry Lazarus
Here is the first of a new series of exclusive articles by,
and interviews with, great wind players of the past, made
possible by the co-operation of the noted Twickenham med¬
ium, Madame Vandorcrampon. This month's guest record
reviewer is none other than Henry Lazarus (1815-1895) who,
I'm sure you will agree, is by far the most qualified of all
clarinettists to review this newly released album.
Paul Harvey
(Editor i/c seances and spirit liaison)
The Victorian Clarinettist ABM 29
Colin Bradbury (clarinet) and Oliver Davies (piano). Dis¬
courses (All About Music) Ltd., Royal Tunbridge Wells, Kent,
England. (U.S. agent: Theodore Front, 155 N. San Vicente
Blvd., Beverly Hills, CA 90211.)
Side 1: Henry Lazarus (1815-1895), "Fantasia on Airs from
Bellini's 'I Puritani' ".
Charles Villiers Stanford, (1852-1924), Three Inter¬
mezzi, Op. 13.
James Waterson (1834-1893), Morceau de Concert.
Side 2: ]. W. Kalliwoda (1800-1866), Morceau de Salon, Op.
229.
Donato Lovreglio (1841-1907), Fantasia on Verdi's
'La Traviata'.
Charles Oberthur (1819-1895), Le Desir.
I am moved to commence this dissertation by congratu¬
lating Mr. Bradbury upon his excellent taste in starting his
recital with my own Fantasia; by far the most significant work
in his repertoire; a subtle blend of brilliantly effective virtuoso
writing and profound musical thoughts. 1 admire his courage
in thus exposing his playing to comparison with my own,
and, though he could not hope to surpass me, 1 am bound
to admit that he comes closer than any other aspiring com¬
petitor to equalling my artistry. This may be accounted for
by the fact that Mr. Bradbury was apparently a student of
Thurston, who himself studied with one of my own most
promising proteges, young Charlie Draper. Sir Arthur Sulli¬
van is indeed fortunate to have secured the services of so
distinguished an artiste as Mr. Bradbury as Professor of
Clarionet at the Royal College of Music.
Although the rest of the programme is inevitably some¬
thing of an anticlimax after my Fantasia, it is nevertheless
worthy of comment as a representative selection of the efforts
of five of my more distinguished admirers. Charles Stanford
is a young composition colleague of mine at the RCM, and
wrote these Intermezzi in his earlier days at Cambridge. He
often seeks my advice ypon writing for the clarionet, and is
contemplating a Concerto for the instrument. Recently he has
become much influenced by a young German composer, Herr
Brahms, who, I understand, has attempted some small pieces
for the clarionet. However, 1 have advised Stanford to look to
works of substance, such as my Fantasia, for his inspiration.
James Waterson had the good fortune to study under me
at Kneller Hall, and through my bringing his diligence to the
notice of the Duke of Cambridge (1 frequently take tea with
H.R.H., you know) he secured an appointment as Bandmaster
to the Viceroy of India. His clarionet writing retains all the
distinguished hallmarks of his early training.
The other side represents three composers who have
quite successfully surmounted the crippling handicap of not
being British. One must indeed applaud their courage and
tenacity in the face of a misfortune of birth which causes
most foreigners to give up all efforts to improve themselves
and resort to gesticulation and incomprehensible babbling.
The Bohemian Kalliwoda has composed several most
creditable pieces for the clarionet, of which this Morceau de
Salon is perhaps the most attractive. The Italian Lovreglio,
although labouring under the additional burden of being a
flautist, has written much for the quite competent clarionet
players of his country; Signori Carulli, Gambaro, Cavallini
and the rest. If only the Lira had a more advantageous rate of
exchange against the Sovereign, it might be within the means
of some of these Italian fellows to become really advanced
players by studying with me in England. Herr Oberthur has
taken such a step by settling in England, and is enjoying the
success invariably accorded by the British public to foreign
musicians. Indeed, in my all too frequent moments of self-
denigration, I often wonder if my fame would have been as
great had my patronymic been Smith or Brown!
1 most earnestly recommend that you purchase this
phonograph recording, which should cause you to make
every effort to hear Mr. Bradbury in person. I am given to
understand that he is the incumbent of the principal clarionet
position in an ensemble with which I am unfamiliar; the
B.B.C. Symphony Orchestra. As more detailed information
has not been provided by Mr. Harvey, 1 merely hazard a
guess that these crypyic initials may stand for Blackpool
Borough Council Symphony Orchestra; presumably one of
the worthy little orchestras which enrich the musical life of
our many delightful watering places. If this is the case, I am
sure that an artiste of Mr. Bradbury's impressive virtuosity
will soon eschew the fatiguing train and hansom cab journey
between Blackpool and Kensington, and obtain an appoint¬
ment at the Queen's Hall, or some equally prestigious London
concert rooms, where his fine playing will reach a wider and
more enlightened public.
Record Review
by John Mohler
The Chamber Music Artistry of David Weber. Spohr, Six
German Songs for Soprano, Clarinet, and Piano; Poulenc,
Sonata for Clarinet and Bassoon; Prokofieff, Overture on Hebrew
Themes for Clarinet, Piano, and String Quartet. Grenadilla
Society Recordings, Box 279, New York, N.Y. 10010, GS 1004,
$8.95.
The choice of placing the Spohr Six German Songs on Side
1 was a wise one. The recording is by far the best of the three
selections on the disc from the standpoints of balance, tone
quality, and minimal surface noise from the original record¬
ing. While the clarinet is at times rather too prominent in the
first three songs, the balance in the Cradle Song is just as it
should be. Clarinet phrasing is particularly beautiful here, as
well as in the concluding songs of the set.
The Prokofieff Overture begins Side 2. In 1946 the original
recording received Time Magazine's Annual Recorded Music
Award as the year's best chamber music single. And for good
reason. The balance and clarity of lines is remarkable; the
clarinet is not at all obtrusive, especially in the high register.
The Poulenc Sonata for clarinet and bassoon (Leonard
Sharrow), a brilliant but rather severe composition, is played
Cotlf. I'' The Clarinet — Spring l4?7c> 21
22 The Clarinet — Spring 1979
 K

OhioUniveiSny^
SCHOOL ofcTW USIC

(Stwtmt frt»- fe euw

<.•**» o«
» ►

The Clarinet — Spring 1979 23

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

by Harry R. Gee attend some of the workshop's activities. Remember, it is

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

Among several visitors at the British Woodwind Workshop August

21-25 were Jerry Pierce (Anderson College, Inc.), Pamela Weston
(author of books on clarinet), Georgina Dobre'e (English concert and
recording artist) and Harry Gee (Indiana State University).
26 The Clarinet — Spring I0?1-!
Harr\ Gt-c directed tht Clarinet Choir in the afternoon sessions and
gave master classes in clarinet each morning. In addition to English
music teachers and students, the clarinet enrollment included 6
German students and a visiting band director from Australia.
Finally, the Clarinet and Saxophone

Ligature has reached the ultimate

in its evolution.

Now it is no longer necessary to use a ligature which imitates string.

The GIOKAS STRING LIGATURE

has all the advantages in playing
quality of the original string with
the convenience of the "modern"
screw type ligature.
It is a fallacy to suggest that a reed
does or should vibrate along its entire
length. The tip of the reed is the only
portion which vibrates. Vibration in the
heel of the reed must be eliminated in
order to maintain a perfect seal between
the mouthpiece and reed, thus allowing
for maximum vibration at the tip of the
reed. Noise transferred from the tip to
the heel of the reed will adversely affect
tone. Individual strings are the perfect
agent to dampen the vibrations and noises
in the heel of the reed. As a result, the
GIOKAS STRING LIGATURE makes
possible unequalled sound quality and
maximum response.
* Easier tonguing
* Superior response
* Dark, full bodied tone
* Clear, centered sound
* Even tone quality throughout all
registers
* Pulls entire heel of reed against
mouthpiece table
* Conforms perfectly to reed contour
* Will not damage reed
Compare the GIOKAS STRING LIGA¬
TURE'S playing quality with any other
ligature in a soft, high, staccato passage —
the ultimate test of any ligature — and
you will be convinced of its superior
playing qualities.
Ligature and Cap for all Clarinets and
Saxophones $11.50. Add $ .50 for postage
and handling. Texas residents add 5% sales
tax. Send check or money order to:
Dennis G. Giokas
P.O. Box 361
Denton, Texas 76201
The Clarinet — Spring 1079 27
 From the Editor's Desk
After only a few months on the job as Editor, I am now
beginning to fully appreciate the task that faced my predeces¬
sor, Lee Gibson, Betty Brockett, James Schoepflin, and all the
others that have brought The Clarinet to its present state since
its first publication five years ago as the official journal of the
International Clarinet Society. For those readers who may not
have been with us since the beginning, it may be worth men¬
tioning that none of us on the staff had had any experience
in putting a publication such as this together. And, while the
first few issues may have revealed this lack of expertise, the
progress and development that have taken place during these
formative years have been significant and striking.
Since a subscription to The Clarinet is one of the most
tangible benefits of membership in the International Clarinet
Society, we on the staff of the journal do not take our respon¬
sibility lightly. Our aim is to provide a truly significant publi¬
cation that will include material of interest to a wide spectrum
of players, students, and teachers. However, it should be
made very clear that this is the journal of the International
Clarinet Society, not of a few staff members and regular con¬
tributors. It will be only as good as the material that is sub¬
mitted. In other words, it is your journal. If you tire of seeing
the same writers, same reviewers, same recital programs, etc.,
send us your ideas, your programs, news of your activities.
Since my primary responsibility is to solicit, plead for, beg,
cajole, and coerce contributions from you, consider yourself
having just been solicited, pleaded after, begged, cajoled, and
verbally coerced! The journal does not miraculously material¬
ize every four months; we need your help!
In looking ahead to future plans, there will be no major
departure from the format that has evolved. I believe that we
now have a visually attractive magazine with consistently
improving artwork, and layout design. The credit for this goes
entirely to Betty Brockett and her technical consultants in
Idaho Falls. It is not an understatement to say that the publi¬
cation would not exist if it were not for Mrs. Brockett's tireless
dedication and hard work. When you feel the urge to write a
^Illl!lllllllllllllll|||||||||||||||||||||||llllllllllllllllll,m|m|||||||m|||||||||||||||m||||||||||||||||||||||||||^
=
31111111111111111111111111111111111111111
llllllllllllll
28 The Cl.uinct — Spring 197Q
congratulatory letter about The Clarinet, send it to Betty
Brockett. I am especially pleased about the affiliation of Himie
Voxman and Keith Stein as Editorial Associates. In addition
to contributing articles from time to time, they will serve in
an advisory capacity on all matters relating to the content of
the journal as well as reviewing articles submitted for publi¬
cation. Lee Gibson will also continue to serve in an advisory
capacity, and John Mohler will be our new Editor of Reviews.
Given the cooperation, interest, and assistance of the
respective clarinet sections I have contacted, we hope to con¬
tinue our series spotlighting orchestral clarinet sections.
Hopefully too, articles will continue to represent a wide range
of subjects: literature, pedagogy, performance, acoustics and
design, news of members' activities, research, performances,
premieres, etc. And an important part of each issue will con¬
tinue to be reviews of new music and recordings. Your recital
programs are needed for printing on our recital page, but
preference will be given to those that will reproduce well in
the magazine. Those printed on ditto and mimeograph often
do not show up well when reproduced.
As for any material you plan to submit, please send
duplicate, typed copies that have been carefully proofread
along with a short biographical sketch on the author.
I feel that one of the most important responsibilities that
the journal can fulfill is to serve as a vehicle through which
the present generation of artist teachers and performers can
expound their philosophies of teaching and performance. Our
previously published series on Daniel Bonade and Rufus Arey
are examples of such documentation through .the .recollections
and research of former students. We shall look forward to
Mitchell Lurie's planned series for future issues of The Clarinet
in which he will delve into various aspects of clarinet playing.
Hopefully other artists will be encouraged to put pen to paper
also, and years from now we can look back over issues of the
journal and learn how our players today really thought about
their instrument and its role in the art of making music.
vertical pressure \
not horizontal as I
other ligatures |
exclusive side shoulders * E
• Will not distort or crush reed fibers nor warp mouth- ™
piece as do metal ligatures. ™
• Top and bottom straps arc spaced wider apart and work ■■
independently of each other. (Helps regulate and control "
reed opening). ~
• Sound posts are scientifically designed to give equal ■-
pressure and full reed vibration. ™
• Tighten screws lightly to desired tension. S
Plaza 3-7111 —
4318 MAIN S
KANSAS CITY, MO Z
I III! III III 11IIIIIIMI llllllllllllll 11 (11117
Denmania
by John Denman
Well, here we are, sitting comfortably at 30,000 feet in
a TWA 727; flight 319, Chicago to Tucson, journey to the sun!
Paula Fan, my pianist (nicknamed "Jaws" for her capacity to
out-eat any starving clarinettist), anxiously watches the very
attractive air hostess for the slightest sign of food. I, on the
other hand, gratefully sip my complimentary J & B and rumi¬
nate on all the squeaks, wrong notes, buzzy low E's etc. that
have plagued me throughout our latest concert tour of the
Midwest.
We lectured and played at the Red Wing Area Vocational
Technical Institute in Red Wing, Minnesota. The Institute
covers a varied field of vocational pursuits, from truck-driving
to repair, maintenance and research of band instruments. The
head of the Band Instrument Programme was clarinettist Gene
Beckwith, who was our host for two days.
Gene gave us the guided tour, dented sousaphones to an
unbelievable Auguste Buffet clarinet (sharp pitch, Boehm sys¬
tem circa 1839 #801), lathes, plating rooms. Everything is
new and up-to-date and in first class order. Gene is fastidious
about training his students to be tidy and orderly. The atmo¬
sphere of the establishment is most encouraging. Gene's stu¬
dents show much enthusiasm for their work; they all seem to
have ambition of being future Moennigs.
Gene Beckwith teaches the students patience. He will not
pass a job until he is satisfied that the student has perfected
the operation, whether it be pad setting or a reshaped key.
In this respect he reminds me of my old friend in England,
Ted Planas. Ted could spend all day on a repair and still have
the patience to start the same project the next day, or until he
managed to achieve perfection.
Our first day in Red Wing, 1 lectured on clarinet mecha¬
nisms, dealing mainly with improving the present Boehm
system. By demonstrating the improvements made on my
Albert clarinet (care of Ted Planas. See "The Man with the
Golden Clarinets" by Marvin D. Livingood, The Clarinet, Sum¬
mer 1978, for illustrations.), I was able to show and play the
obvious advantages of having throat note Bb and top Eb vents.
Another point I made was to have the C#-G# key bushed
with a nylon sleeve (similar to the present Boosey and Hawkes
10-10 clarinet), but, angled toward the middle tenon, thus
giving room for a larger tone hole, the sound starting from
the correct position and emitting from the usual place. The
articulated G# on full Boehm clarinets always sounds well,
for the tone hole is in the right place, right in the centre of the
middle joint, and is of the correct diameter, unlike the regular
. Boehm clarinet.
REED
French. German.
We also discussed mouthpieces, cross-cutting the table
for a shorter facing, and especially the angle of the cut of the
baffle. I showed a normal, popular French mouthpiece with
almost a parallel baffle, and, in contrast, a German Zinner
mouthpiece with a pronounced slope to the angle of the baffle.
The French mouthpiece produced a very centered tone, but
edgy, whilst the German one sounded spread and darker in
quality. Somewhere between these two models comes the
English preference; we try to have the best of both ideas. The
results I leave to your own judgement.
I asked Gene Beckwith for his opinions on over-the-
counter clarinets. He replied, "It's about time the standard
Boehm was updated; we have been playing on virtually the
same thing since KJose invented it. Improvements have been
made, but only small ones—" I agree wholeheartedly; it's
time to try to persuade the leading manufacturers to come up
with something better than the $900 clarinet of today—the
same thing that cost half the price a few years ago. Do you
know, my Alberts cost only $28 each in 1902. What are they
worth now? A few hundred dollars maybe. If I could find a
better clarinet, I'd play it!
Before our recital the next evening, I managed to secure
the services of a former student of mine now studying at Red
Wing, David Townsend. We played an impromptu perfor¬
mance of the Rondo from the Krommer double concerto for
an encore,-reading from a photographed piano score, resulting
in some six yards of music. With the aid of three stands and
Gene Beckwith pulling the music from right to left, we
managed to perform the piece!
The next stop: Lawrence Conservatory in Appleton,
Wisconsin, and a very impressive bevy of clarinettists in a
master class situation, students of Dan Sparks. Beautiful
sounds and sensible performance. Lastly, the University of
Wisconsin at Milwaukee five Grand Duos later, and the stu¬
dents of Jack Snavely. Great atmosphere here, good players
and a good wind faculty. They seemed to enjoy my jazz at
the lunchtime convocation, and turned out in strength for the
Ultimafe
c
^ BLAYM AN * e
Play
your best...
Play on a Blayman Clarinet
Mouthpiece.
Experience the ease of blowing, the comfort of
excellent intonation, the luxury of beautiful tone quality
throughout all registers with minimal effort
The Blayman Qarinet Mouthpiece comes in the
following tip openings in hundreths ct a millimeter.
aose-H-103-107
Medium-E-108-112
Open-R-113-117
Very Open-B-118 and up
Look forward to a
real treat. Play a Blayman.
'Solo Clarinetist with the Metropolitan Opera for 28 years.
BLAYMAN CLARINET MOUTHPIECE
P. O. Bo* 40, Tenafly. N.J. 07670
The Clarinet - Spring 29

evening recital. I pulled the same Krommer gag on my old pal
Jack Snavely and he sportingly agreed to play—and did it so
well. Lesson for us all; keep in practice.
The super looking air hostess just recharged my glass, and
I feel now is the time to be less serious and relate a story of
"The English Virtuoso." Jaws is fast asleep, full to the brim
with TWA in-flight steak"—hers, plus half of mine—so here
we go with the story:
Our hero, who shall be nameless, on his way to the north
of England to play "a new concerto (a thousand notes, no
less)," and having plenty of time to spare before catching his
train, felt the need(!) and repaired to the Gents toilet, perhaps
to finalise his thoughts about the closing bars of the slow
movement?
Before modernisation, the Gents at Euston station in Lon¬
don consisted of the usual conveniences, the actual cubicles
being about 10 feet in length, the "throne" at one end, the
door at the other. The doors were very high, but allowed an
18 inch gap between door and floor.
Our virtuoso put down his beloved Boosey and Hawkes
10-10 s near the door, took down his pants and sat comfort¬
ably on the throne, the final cadence of the slow movement
running through his mind, with the imaginary sea of incre¬
dulous eyes looking into his from the rapt audience. This won¬
derful dream was suddenly shattered when a grimy hand was
thrust under the door. The hand quickly grabbed the 10-10
case, and our hero, full of soloist's adrenalin, leapt from the
"loo" the full ten feet, grasped the hand, and bit it with the
full force of an embouchure used to playing top Cs!
An agonised cry came from the owner of the hand, and
our virtuoso triumphantly smiled inwardly to himself (You
need that kind of reflex action to be a soloist!). His elation was
short-lived however. In his gallant effort, he found himself
full length on the floor, his pants split, and the rest 1 leave
to your imagination.
Moral: Sits he on ever so high a throne, a man still sits
on his bottom.
— William /, Montaigne
30 The Cl.uinct — Spring IP7C)
It Don't Mean a Thing
If It Don't Have That String
by Henry Duckham
In my student days, whenever the conversation drifted
to the matter of ligatures, the string ligature would receive
fleeting mention. We viewed it as a kind of buggy whip, a
method of attaching the reed that, in a bygone era, had to be
tolerated because no one had yet created the metal ligature.
Furthermore, how on earth would the string ever stay on the
tapered cone shape of the mouthpiece unless your mouthpiece
was grooved? Meanwhile we kept experimenting with dif¬
ferent ligatures, a process 1 must say never ceased for me until
last year when I got curious and wrote Dr. John Mohler at the
University of Michigan, asking him if he could illuminate the
mysterious process of fastening reed to mouthpiece via string.
1 shortly received a most thoughtful response complete with
diagrams on its application. Having learned the technique and
having used it for a year now, I find it so eminently satisfactory
that I thought other members of ICS might like to experiment
with it also.
Theory—So Far, That Is
In The Art of Clarinetistry, Professor William Stubbins
extols the merits of the string ligature. His reasons run as
follows:
1- The reed acts as a spring—but only the part of the reed
that is freely positioned over the curved portion of the mouth¬
piece facing
2. Therefore, the function of the ligature is to firmly
secure the non-oscillating portion of the reed to the mouth¬
piece. The ligature must do this without undue pressure which
would distort the reed. Ligatures claiming mechanical features
allowing the entire reed to vibrate therefore misperceive the
true mechanical and acoustical functions of the reed.
3. As opposed to the clamping action of metal or some
plastic ligatures, string follows the contour of the reed uni¬
formly, eliminating distorting pressures. Further, string is an
ideal material to dampen undesirable noise quotients.
His remarks make good sense but I am a little uneasy with
the notion that the bottom of the reed acts as a handle only
and find it difficult to reconcile this statement with the damp¬
ing effect attributed to string simply because it would seem
the bottom portion of the reed would also have to be involved
in the total process in order for string to be identified as effec¬
tive damping material. What we may be dealing with is the
difference exhibited by clamped vs. hinged vibrating mediums
as described in Arthur Benade's Fundamentals of Musical Acous-
tu>. A thorough investigation of the acoustical properties of
various types of ligatures, if not already the subject of some¬
one's investigation, would make an interesting and valuable
contribution to our understanding.
Pros and Cons
Theory aside, there appears to be a general and growing
appreciation that the string ligature has advantages over other
kinds. Hesitancy on its adoption by players seem to revolve
around:
1. The diffiiully of application. A little practice and enough
beeswax can make application surprisingly fast. Yes, it does
take a few more moments than fabricated ligatures.
2. Fear of slippage. Again, with an occasional draw through
the beeswax, the string mass is firm and even changing clari¬
nets in concerts is no problem.
 3. Inability to adjust. The fact that there are no screws to
tighten is really an advantage. As the winding process is self-
adjusting, there is a remarkable day-to-day consistency of
feel and response for any given reed.
Advantages are:
1. More secure feel and response. There is a heightened
sense of "blowing into the center of the note" in all ranges.
2. Octave to octave smoothness is increased and greater
homogeneity of neighboring tones is achieved.
3. Enunciation and ictus is improved.
4. Reed distortion and windway impression is minimized.
Getting It On
Materials: There is nothing sacrosanct about wristwatch
cord, but it is incredibly durable, non-stretching and has
enough surface roughness to provide an excellent string mate¬
rial. A judicious application of a match on both ends will
cause the nylon material to melt and seal.
Cord may be obtained from:
Florida W/J Supply Co.
500 First Avenue, No. 210
Driftwood Building
St. Petersburg, Florida 33701
Ask for Hastings Diamond Black.070 All Nylon Watch
Bracelet Cord. I paid less than $3.00 (including postage) for 5
yards which is enough for 3 ligatures. A disc of beeswax may
be obtained at any local sewing store or hobby shop.
>0
offie
PORTNOY
-Custom designed
Mouthpiece & Ligature
Through \ears of experience in performing,
Portnoy has developed a Mouthpiece used l»\
leading Clarinetists. For uniformity, sound,
inionalion. and response, it is unequalled.
Facings: BP1 Close BP02 Personal BP3 Open
Portnoy's patented Cross Bar Ligature has
only four points of contact, side suspension,
allowing maximum freedom of reed.
See your Dealer, <»r write /or Brochure
B. PORTNOY CLARINET ACCESSORIES
1115 Brooks Dr., Bloomington, Ind. 47401
Application: A length of 5 feet covers the area from just
above the bottom of the reed butt to just above the shoulder
cut on my Borbeck "Antares" mouthpiece. Seal the ends as
described previously with a match. Draw the string through
the beeswax, making it stiff and somewhat tacky. Wet the
reed thoroughly and press it against the mouthpiece so it
adheres without pressure. With the left thumb (if you're right-
handed) pressed against the reed butt, position the string
against the left rail of the reed. (A variation of this place¬
ment has just been reported to me by my former student
Bob Taylor in a conversation with Karl Leister, principal clari¬
netist of the Berlin Philharmonic, at the recent Clarinet Clinic
in Toronto. Instead of positioning the string on the left side
next to the reed. Leister places the string vertically directly
opposite the reed on the front of the mouthpiece and begins
the wind from this position. Leave enough string below the
butt to pull on after the winding has been completed. With
the first finger of the left hand at the reed shoulder bring the
string around as in the drawing. After three or four turns,
cinch up and continue winding. Continue cinching every three
or four turns. On the last loop, insert the end through the
loop as illustrated and pull tight. Now pull the left end to
tighten the top. As a final step press down on the entire string
mass from the top.
WTiile the process is a little awkward at first, a little prac¬
tice will soon make it second nature. Your first attempt should
be made with a reed whose loss would not cause heartache as
in the beginning it is easy to brush the reed as you are turning.
Illustrations courtesy of Elaine LeVan Duckham. The author
studied with Rosario Mazzeo and Keith Stein and was formerly. Prin¬
cipal Clarinet with the North Carolina Symphony.
ijAvaiQabQe uAgain uAt ££ast
THREE MINIATURES
Clarinet and Piano
Krzysztof Penderecki
$3.00
(p/us 85c shipping and 13c
sales tax for shipments to
Missouri, Illinois, Kansas) •
uAsk uAbout (Qtk&i lMguu
^-PuMicatiows ^o/t C$a/iiH6t
LLifc
1
^ 4318 Main Street Kansas City, Mo. 64111 ^
The Clarinet — Spring 1979 31
Selected Clarinet Solo and Chamber Music
by the Danish Composer Jorgen Bentzon

composer outside of the Nordic countries.3 The manuscript

by Ronald Peter Monsen, LRAM is in the collection of the composer's widow Fru Karen Bentzon
in Hzftsholm, Denmark.
Ronald Peter Monsen holds the Doctor of Musical Arts Degree from Sonatine, Opus 7, is a three-movement composition scored
the University of Wisconsin-Madison; Performer's Diploma (LRAM) for flute, clarinet (Bb & A), and bassoon. Of the seven works
from the Royal Academy of Music, London, England; Master of Music presented in this article it is the most traditional. At the time
Degree (clarinet) from Northwestern University and the B. Sc. Degree of composition (1924) Bentzon had not yet completely formu¬
in Music Education from the University of Wisconsin-Milwaukee. lated his principles of character polyphony. The work is tech¬
He has studied with Dr. Glenn Bowen, jack Brymer, Alan Hacker, nically demanding in all parts and especially so for the clarinet.
Jerome Stowell, David Glazer and Jack Snavely. He is a faculty mem¬ While ensemble problems are present in all the movements
ber of the Department of Music with the University of Wisconsin the first presents the most difficulties.
Center System. A recording of music for clarinet and piano by Scan¬ Movement one (Allegro) is cast in sonata-allegro form.
dinavian composers is scheduled for release in 1979. The second movement (Adagio) utilizes an ABA form. The
last movement (Allegro) is entitled Rondo by the composer.
During discussions and conversations with colleagues it The present author does not view this movement as a rondo
has been demonstrated that several of j0rgen Bentzon's major in the accepted sense of the term. Rather it must be considered
compositions which feature the clarinet are unknown to many a series of nine variations upon a ten-measure theme presented
teachers and performers outside of the Scandinavian countries. by the flute. It has the following outline:
The music of this twentieth-century Danish composer and Theme
jurist is both appealing and well written. The present author Variations 1-111
hopes that this article will serve as both an introduction to Theme
the composer and to his music.1 Variations IV-IX
There has never been a contemporary Danish composer
for whom chamber music played so dominant a role as it has Variazioni interrotti fiir Clarinetto in B,
for Jergen Bentzon. From the beginning it formed the central Fagotto, Violino, Viola, Violoncello
part of his artistic production. This devotion to the creation of According to the composer's notes Variazioni interrotti was
chamber music during all three periods of his writing had no begun in November of 1925 and completed during the late
parallel in Denmark. The strong emphasis on chamber music winter (March) of 1926. The score was published by Wilhelm
kept the composer somewhat removed from general accep¬ Hansen Musikforlag (Nr. 2748) as opus 12 in 1927. The parts
tance by the musical public. were issued by the same firm (Nr. 2748a) in the following
J0rgen Liebenberg Bentzon was born in Copenhagen on year. Opus 12 is dedicated to the Danish composer Poul
the 14th of February, 1897. His musical education began with
lessons on the violoncello at the age of seven. Approximately
five years later he started piano lessons. During September
of 1914 he undertook studies for a legal career. His first com¬
positions, for piano, date from about this period. Bentzon sub¬
mitted these early works to Carl Nielsen and requested that
he be accepted as a pupil. From September of 1915 until the
summer of 1918 J0rgen Bentzon was one of the Danish mas¬
ter's rare private students. In November of 1920 Bentzon
travelled to Leipzig where he was a student at the Conserva¬
tory. He studied harmony and composition with Dr. Sigfred
Karg-Elert, score reading and playing with Professor Hans
Sitt and piano with Professor Weinreich. He returned to
Copenhagen on June 5th, 1921. Bentzon began his duties as
a secretary with the Ministry of justice on June 16th of the
same year. On the 1st of February, 1933, he became secretary
to the Supreme Court of Denmark. Bentzon served in this
position until his death in 1951."
Sonatine, Opus 7, pour Flute, Clarinette et Basson
The Sonatine was begun about May 1st, 1924 and com¬
pleted no later than August of the same year. This work is
Bentzon's first composition for wind instruments. In 1926
Borups Musikforlag published the score. The parts were not
published until 1948 by Skandinavisk Musikforlag (S.M.
5487). Opus 7 is dedicated to Holger Gilbert-Jespersen, Aage
Oxenvad and Knud Lassen. These three artists, all members
of the orchestra Det Kongelige Kapel and the woodwind quintet
Bhrserkvmtelten af 1921, presented this work at the ISCM con¬
cert in Frankfurt am Main in 1927. This was j0rgen Bentzon's
first recognition (other than his student work in Leipzig) as a J&rgen Bentzon
32 The Clarinet — Spring 1979
 HANDMADE ...

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

Robert W.
Borbeck

- Announces
V
^ his NEW clarinet
mouthpiece

The Antares*

$50.00

For orders or information write:

Robert W. Borbeck
Clarinet Mouthpieces
Box 708
Fernley, Nevada 89408
(702) 575-4584

P O BOX 2824
SHALL-u-mo ROCHESTER. N Y 14*26
PUBLICATIONS /or those who

^Dare to ^Break

with tradition...

RHAPSODY
for CLARINET Op. 33
by BURNET TUTHILL

Clarinet and Piano $8.50

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

36 The Clarinet — Spring 1979

New Music Reviews
by Henry Gulick
Virgil Thomson, Five Portraits (1929) for four clarinets: 1-2 in
B-flat and A, E-flat Alto, and B-flat Bass. G. Schirmer, New
York, 1977, $10 for score and parts, 10 min.
Movements are titled 1-Portrait of Ladies: a conversation;
2-Portrait of a Young man in Good Health: Maurice Grosser
with a cold; 3-Christian Berard, Prisoner; 4-Christian Berard
as a Soldier; 5-Christian Berard in Person.
Composer of Four Saints in Three Acts and The Mother of
Us All as well as a well-known music critic, Mr. Thomson
has given us a work from his earlier years in France. It illus¬
trates his penchant for musical portraits with an open-textured
style which is a mixture of the esoteric and the witty. There
are a few technical and rhythmic complications. Advised for
advanced groups only.
Nicholas von Slyck, Twelve for Three (1973) for 2 B-flat clari-'
nets and B-flat bass clarinet. Southern Music Co., San
Antonio, Tex 78292, 1976, $5 for score and parts, 18 min.
The twelve movements are Intrada, Canon, Unison,
Romance, Scherzo, Pastoral, Sonatine, Barcarolle, Invention,
Perpetual Motion, Pause, and Final Combination. Just what
this was for originally is not clear; the score is labeled Treble,
Alto, and Bass. The style is fairly conventional with some
mild dissonances.
1 like the fast movements; they are clever and interesting,
con spirito. The slo'w movements on the other hand seem
pedantic. Most of the writing is tutti; more rests would have
been welcomed by both performers and audience. Level:
difficult technically.
Claude Debussy, Le Petit Negre for clarinet quartet (E-flat
Soprano, B-flat Soprano, E-flat Alto, and B-flat Bass), arranged
by L. Aga, Alfonse Leduc (Theodore Presser, Bryn Mawr, PA),
1977, $2.50 (parts only), 2 min.
This has become a standard work, and has appeared in
many different transcriptions. Although the instrumentation
is rare in the United States, the E-flat soprano part could easily
be transposed; written A becomes high D on the B-flat clari¬
net as the highest note encountered. Misprints: the third part
is marked Clarinette Alto en Fa (actually E-flat), and several
F sharps should be F naturals (also in the Alto part). Fairly
easy.
Antonin Dvorak, Four Slavonic Dances for 4 B-flat clarinets
and optional bass clarinet, arranged by Peter Spink. Oxford
University Press, 44 Conduit St., London WlR ODE, 1977,
10 min.
My score is marked $6.25; surely this includes parts which
were not received with the review copy. Originally for piano
duet and later orchestrated by the composer, this carefully
thought-out arrangement has main themes only from Op. 46,
nos. 2, 6, and 8, and Op. 72, no. 16. Mr. Spink has simplified
these so that the upper two parts are intermediate level, the
lower two parts, easy. The bass clarinet part is also easy,
though it is not quite the same as the fourth clarinet part.
Very enjoyable music.
John Robert Brown, arranger, Chalumeau Canons for Clarinets
(2 to 5 players). Chappell (Presser), 1977, $2.
This contains about two. dozen easy circle canons
(rounds); many are traditional, while others are by Purcell,
Mozart, Mr. Brown, etc. Writing remains in the lower register.
Good material for beginners.
Alvin Etler (1913-1973), Sonata Number 2 for B-flat Clarinet
and Piano (1969). Number 4, Long Island Chamber Music
Series. A Broude, 225 W 57, New York 10019 (1977), 18',
Range: to the highest C. The four movements are marked
only with metronomic speeds: 1-^ = 63, II-W = 112, 1I1-«I = 40,
IV-W = 126.
This sonata was commissioned by the G. LeBlanc Cor¬
poration at the request of Himie Voxman. It was first per¬
formed at the University of Iowa in 1970.
As with Etler's first sonata for clarinet, rhythm is a domi¬
nant factor, along with much syncopation. Here, however,
we find the twelve-tone technique utilized, and the total effect
is more intellectual, more abstract. If you wish to translate
that as "boring," I will offer no objection.
Professor Paul Shelden, Brooklyn College, CUNY, has
indicated helpful fingerings for the many trills and high notes.
The manuscript should be better; I found the piano part
as well as the ledger lines in the clarinet part rather awkward
to read.
Technically difficult for both players.
F. A. Hoffmeister (1754-1812), Concerto in B-flat major for B-flat
clarinet and piano, edited by Alison Copland. European
American Music Dist. Corp., 195 Allwood Rd., Clifton NJ
07012 (1975) as Sole Agent for Schott, 18', Range: High G.
Price: $5.50. The three movements are Allegro, Adagio and
Rondo. Orchestral accompaniment available by rental.
From three sets of handwritten parts, Alison Copland has
prepared this first edition of a clarinet concerto which appar¬
ently predates Mozart's. Copland says in the preface that
"until now Mozart is claimed to have been the first composer
to exploit fully the varying possibilities of the clarinet, but his
expressive use of the chalumeau register, the rapid changes
from the low to high compass of the instrument and the
warmth of tone achieved in the melodic passages are all fore¬
shadowed in Hoffmeister's work." That is true enough; of
course that catch is that Hoffmeister's creative ideas place him
in the minor leagues with such composers as Carl Stamitz
and Peter von Winter.
Wisely, I think, the editor has left much of the articulation
to the discretion of the performer. I would be inclined to write
my own cadenzas for the first and second movements.
Not very difficult.
Norman Heim (editor). Style Studies for the Intermediate Clarinet,
arranged and edited by Norman Heim. 3 Volumes: I-Baroque
Period; II-Classical Period: Ill-Romantic Period. Kendor
Music, Delevan, NY 14042, 1978. $4, 5, 6 respectively.
Dr. Heim is Professor of Music at the University of Mary¬
land. His intent in this collection is clear: the enhancement
of the student's understanding of three differing styles, and
avoidance of advanced problems in technique. The title is
slightly misleading, 1 believe. Rather than studies, we have
here excerpts from the clarinet literature, plus a few Baroque
transcriptions. Volume I contains original works by C. P. E.
Bach, Pokomy, J. Stamitz, and Handel, as well as transcrip-
The Clarinet — Spring 1979 37
tions from flute, violin, keyboard music by Telemann, Vivaldi,
Geminiani, ]. S. Bach, and Handel. Volume II contains
excerpts from solos and chamber music by Beethoven, Haydn,
Mozart, Crusell, and John Mahon. Volume III explores Weber,
Schumann, Schubert, Brahms, Baermann, Spohr, Heap,
Rheinberger, Prout, and Farber. Many of the selections may
be played with piano accompaniment (not included), the
easier movements of the Brahms Sonatas, for example.
One might quibble that Johann Stamitz is Classical rather
than Baroque, or that the ending of Shepherd on the Rock is
Difficult rather than Intermediate. My principal objection is to
Render's typography: small notes and crowded pages (as
many as fifteen lines to a page!) are not conducive to easy
reading. For whatever reason. Volume I is much better than
II and III in this respect.
Typography notwithstanding. Dr. Heim has come up
with a varied collection which offers much material for the
intermediate student.
BRIEFLY NOTED:
Andre Ameller, AmiunHno for B-flat clarinet & piano. Henry
Lemoine, Paris (1968), NPI, 1 +, Range: High D. Very Easy.
Smooth and pleasant.
Monique Gabus, Sans-Souci for B-flat clarinet & piano.
Lemoine, 17 Rue Pigalle, Paris (1972), NPI, 2', Range: High D,
or High F if 8va. Easy. "Carefree" it is!
Adrian Cruft, Improniplu Op. 22 for B-flat clarinet & piano.
Chappel (Presser), 1957, $1.50, 2', Range: High F-sharp. Mod¬
erately Easy. English and neo-romantic.
Moritz Moszkovski (1854-1925), Tuw Spanish Dances for B-flat
clarinet & piano, arranged by Lionel Lethbridge. Oxford Uni¬
versity Press, 1977, $4.75, 3Vz and 3', Range: High E. Inter¬
mediate level. Yes, they are the famous ones, back in a new
edition. These are excellent music for the maturing student.
Carl Baermann (1811-1885), Three Baermann Etudes for B-flat
clarinet & piano, arranged by Harry Gee. Pro Art, Westbury,
NY, 1978, $3. These are taken from Volume 2 of the Method:
No. 19 in F, No. 22 in d, and No. 35 in f.
New Music Reviews
by Dr. Norman Heim, Guest Reviewer
Norman Heim has been Professor of Music at the University of Mary¬
land, College Park, since 1960. He previously taught at Central Mis¬
souri College and the University of Evansville. At Maryland he teaches
clarinet through the doctorate level, clarinet literature, clarinet pedagogy,
woodwind pedagogy and literature, and conducts the University Clari¬
net Choir which has recently made a recording for Kendor. He earned
his BME at the University of Evansville, and the M.M. and D.M.A.
at the Eastman School of Music. He has published over 100 articles,
written six books for clarinet, and is active as a composer for tlw clarinet.
In addition, he has started a new periodical. Clarinet Choir News
International, and is working on two projects: music for bass clarinet,
and music for the basset horn. He is active as a clarinet performer-
clinician and maintains a clarinet repair shop.
Warner Hutchinson, Suite for Clarinet Choir. Kendor Music,
Inc., Delevan, New York 14042, 1977, 5 min., $5.50, Grade 4.
38 The Clarinet — Spring 1979
Warner Hutchinson is Professor of Music at the State
University of New Mexico at Las Cruces and has many com¬
positions to his credit. The Suite for clarinet choir is an out¬
standing work, adding one more composition to this ensem¬
ble's emerging original repertoire. The three movements.
Roundelay, Litany, and Toccatina, are well crafted music written
in a tonal, conservative twentieth-century idiom, which holds
great appeal for performers and audience alike. The parts are
well-written and the work is scored for standard clarinet choir
instrumentation, although without the E-flat clarinet. While
put in Grade IV by the composer and the publisher, this work
is deceivingly tricky at times, and will challenge even the
accomplished college clarinet choir if played up to indicated
tempos. This composition should be in every clarinet choir
library. It is recorded under the Kendor Music label on a new
recording of clarinet choir music made by the University of
Maryland Clarinet Choir.
Jack End, Six Miniatures for B-flat clarinet quartet. Kendor
Music, Inc., Delevan, New York 14042, 1977, 5 min., $3.50,
Grade 4.
The repertoire for clarinet quartet (4 B-flats) is always in
need of original works, especially for younger players. The
Six Miniatures are each quite short but well-crafted movements.
The instruments are arranged in a manner which brings out
the best qualities of the clarinet for each part. Although each
movement is brief, this is good music written in a conservative
contemporary style that would be appealing and accessible to
younger players. The composer suggests a Grade IV, but there
are some rhythmic passages involving staggered entrances
that can cause some ensemble difficulties for even more
advanced players. Clarinetists in high school will enjoy playing
this work.
John Stanley and Samuel Wesley, Old English Music arranged
from organ works for oboe, B-flat clarinet, and bassoon by
Pamela Verrall. Oxford University Press, 44 Conduit Street,
London, England, 1975, 12 min., $3.90, Grade 3-4.
The six movements of this work are alternately by Wesley
and Stanley, arranged for oboe, B-flat clarinet, and bassoon
with an option to have B-flat clarinet also cover the oboe part.
This work is intended to be played from the score (with a
separate clarinet part available in lieu of the oboe) which
means one stand for three players. This reviewer finds this
aspect rather undesirable from personal experience over a long
career. The music is interesting, with good variety between all
six movements: Gavotte, Prelude, Hornpipe, Sicilian©, March,
and Vivace. Performers might consider a different order,
perhaps starting with the Prelude. The parts are well-arranged;
this music could be played well by high school as well as
beginning college reed players. Since Stanley and Wesley are
relatively unknown to the average instrumentalist, some
information about the composers would have been helpful
on the score in order to give more stylistic performances.
This reviewer feels that putting the music of these two com¬
posers (Samuel Wesley 11766-1837] and John Stanley (1713-
1786|) together in a 6-movement suite is not too desirable
because the styles of each are different as well as not espe¬
cially compatible. In spite of these problems, the music can
be put to good use.
Remy Violeau, Andante for Four B-flat Clarinets. Gerard Bil-
laudot (Theodore Presser) Paris, France, 1975, 4 min., $2.50,
Grade 3.
This work is quite short, written with traditional har¬ Compositions
monies and melodic material, and could be played quite easily
by a quartet of average junior high school students. There are
few markings relating to interpretation other than tempo; in for 4 Clarinets
order for a performance to be musically satisfying, the parts
need to be edited rather profusely. The conservative romantic BERTOGILLE, G Concertino 13.50
style of this work seems to be out of place for a work pub¬ BIGOT, P. 3 Short Pieces 6.00
lished in 1975. There is some good music here, but the stu¬ HAGSDORFER, F. Suite for 4 Clar. 6.00
dents will need teacher guidance in order to produce a musical KERSTERS, W. Variation on a
performance. Famaby Theme 13.50
Corelli-Telemann, Baroque Etude, arranged by Ira P. Schwarz MAES, J. Contrasts 16.00
for B-flat Clarinet and Piano, Pro-Art Publications, Inc. (Bel- MEULEMANS, A. Serenata 14.00
win-Mills), Westbury, New York, 1978, 3 min., $1.75, Grade 4. POOT, M. Legende 10.00
QUINET, M. Petite Suite 7.50
This work, according to the score, is adapted "after Concerto G rosso
Corelli-Telemann" which this reviewer has difficulty inter¬ (with piano) 10.00
preting. The score indicates the realization and the adaptation SCHOEMAKER, M. Bird Cage 10.00
were accomplished by Ira P. Schwarz, raising further ques¬ VAN DER VELDEN, R. Fantasie 12.50
tions. Is the music taken from actual Corelli and Telemann WHITE, C.C. Suite Spirituale 5.00
compositions, and if so, which works? Or is the music written
in the style of Corelli and Telemann to demonstrate the style
of the composers? The music is profusely edited (presumably
by Mr. Schwarz) and the ornamentation used is discussed in
the score under "some performance considerations." The work Henri Elkan Music Publisher
is really an excellent study of the use of ornamentation in a 1316 WALNUT ST.
typical Baroque slow-fast movement, and would be valuable PHILADELPHIA, PA. 19107
to study for that reason alone. However, this reviewer could
raise questions relative to the articulation. The score indicates
the work may also be played on tenor saxophone, and is
dedicated to Himie Voxman, the distinguished clarinet-
musicologist at the University of Iowa.
PerfectaReed

THE AMATEUR
Box 594, ArdSley, N.Y. 10502
CLARINETISTS GUIDEBOOK
THE
A unique approach
AMATEUR
to clarinet playing
CLARINETISTS
__ a real aid to the
GUIDEBOOK
amateur clarinetist
as well as the
clarinet teacher
E3SS5I
LIMITED EDITION. SOFT
COVER.
SIZE: 8|"x ll" PerfectaReed enables any musician, *
Levin \V\ Foster skilled or un skilled,to
$5.00 pp usa *
| quickly adjust reeds to vibrate and play freely. ^
Metro Model T-3 METRONOME • Order your PerfectaReed today. ^
I electronic, pocket size, wght. 9oz^$20. pp USA Satisfaction guaranteed or your money back. w

$52.50
West Chester Street
.NANTUCKET, MASS. cket, Mass., 02554 N.Y. residents add sales tax.
L
The Cl.irinet — Spring 1979 39
 New Music Reviews
by John Mohler
Stephen Chatman, Quiet Exchange (1976) for B-flat clarinet
and two suspended cymbals. Dom Productions, P.O. Box 704,
Islington, Mass., 02090, 7 min.
Stephen Chatman, presently on the faculty of the Uni¬
versity of British Columbia, Vancouver, composed Quiel
Exchange on commission from Father Robert Onofrey, St.
Joseph's College, Rensselaer, Indiana, while both men were
doctoral students at the University of Michigan. It is a well-
designed work which includes subtle interchanges of clarinet
and cymbal tones with periods of "swing style" movement
which call for a bit of theatrics from both players, "optional
'shuffle' motion," and four-bar "shuffles" in a circle (quite
a challenge for this non-dancer reviewer!)
This title is most appropriate. The dynamic profile
remains primarily ppp - p, with only a relative handful of m/'s
and 5/ s, and two / s throughout. Technical demands are mini¬
mal. The tempo is relaxed. The percussionist is provided with
a description of notation instructions, although "R" is unex¬
plained. Sub-tone and vibrato are indicated for the clarinetist,
as well as several glissandos, the longest from E3 to E4. For
me the following glissando fingerings have worked well: C-
sharp =L.H. 1, D3 = open, and E4 = A key, register key R.H.
1 E-flat/B-flat.
Quiet Exchange has an immense amount of audience
appeal. It is effective at any point on a program, even as a
closer, and is relatively easy to put together. If it sounds ideal,
it is only because it actually is.
Leslie Bassett, Soliloquies for solo B-flat clarinet (1976). Merion
Music, Inc. (Sole representative: Theodore Presser Company,
Bryn Mawr, PA), copyright 1978, 9 min.
Without a doubt, Leslie Bassett's Soliloquies is destined
to be regarded as one of the few really fine examples of twen¬
tieth-century writing for the clarinet, and is already considered
so for those of us who have already performed it. I base
these assumptions both on receptions of my own perfor¬
mances of Soliloquies by a wide range of audience types from
coast to coast, as well as on my observations when hearing it
performed by others. The music is at times extremely brilliant
and technically demanding, at other times serenely beautiful,
yet continually changing in mood and effect.
The four movement headings are highly descriptive: I—
Fast, aggressive, driving, dramatic; II—Flowing, singing; Ill-
Fast, abrasive, contentious; IV—Slow, lyrical, expressive. From
the first movement's brilliant opening roulades between F1
«*rid C-sharp to its close on a multiphonic trill ("your best,
fullest multiphonic, plus trill [or high B as ossia]"), the writing
is excitingly dramatic. Short resonance trills (fast timbre
changes) are frequently indicated, and numerous sffz jabs
punctuate other sustained resonance trills. Choose keys to trill
which will give you the most effective results. Several tremolo
fingerings are indicated, although "Oct." should read "Reg."
on page 3. For me, a dependable multiphonic fingering for the
close is •|o..|..o/ and triii R H 2 (or see Rehfeldt, New Direc¬
tions. ..).
11, as IV, is beautifully lyric, although retaining the quick
mood changes of I, yet at much more subdued dynamic levels.
Some sustained pp altissimo writing is demanding. The final
note (E ) moves to a harmonic fingering for timbre interest
(either remove the register key or add A-flat/E-flat). Time
40 The Clarinet — Spring 1979
signatures are provided for II and IV.
Dry, harsh, pointillistic writing begins III, "gradually gain¬
ing in intensity" to /// accelerating trill-type alternations be¬
tween E and adjacent D-sharp and F. Wide slurred intervals
lead to a // sustained F4 conclusion.
The melodic lines of IV are beautifully shaped, particu¬
larly through use of rhythmic notation which provides care¬
fully formed rubato. The close is a most effective sustained
resonance trill on E which fades to an inaudible conclusion
(try F-sharp/C-sharp here).
Leslie Basset is chairman of the Composition Department
at the University of Michigan. He has been a Pulitzer Prize
recipient as well as of other awards; his orchestral music has
been performed by all of the major orchestras in the United
States and also in Europe. His chamber music using the clari¬
net includes a woodwind quintet, a trio with viola and piano,
and songs for bass voice, cello, and piano. Soliloquies was com¬
posed on commission from Father Robert Onofrey.
Heinrich Sutermeister, Concerto for [B-flat] Clarinet and
Orchestra. B. Schott's Sohne, Mainz (Sole U.S. agent: Euro¬
pean American Music Distributors Corporation, 195 Allwood
Road, Clifton, N.J. 07012), copyright 1977, 22 min., $25. (Piano
reduction), full score and parts on rental from European
American Music.
Though in three movements, this concerto is rather sty¬
listically reminiscent of the Hindemith. Concerto in both treat¬
ment of the solo instrument relative to the orchestral back¬
ground and the harmonic language. The orchestration is quite
rich even though its instrumentation is relatively modest:
all winds (no clarinets or trombones) in pairs, with respective
seconds doubling on piccolo, English horn, and contrabas-
soon, plus the usual strings and percussion (including a good
deal of bell sounds: tuned cymbals ([crotales], glockenspiel,
chimes, and xylophone). As might be imagined, performance
of this concerto with piano accompaniment will not only
suffer from lack of accompanimental color but will drive the
accompanist up the wall, especially where the reduction is
expanded to three staves! The edition is beautifully printed.
Actually, the concerto has an attractive sound, a grateful
solo line in addition to the colorful accompaniment. Both of
the outer movements have strong rhythmic energy. In the
first movement this is achieved by pronounced ostinato
quarter-note movement (often appearing as eighth-note,
eighth rest). Rather regular 4/8-3/8 alternations in the third
movement, plus occasional 7/8 stretches (why not 4/8 - 3/8
or the reverse?), give enough variety to the usual compound
meters (3/8, 6/8, 9/8, 12/8) employed throughout.
Although the style is quite chromatic, the clarinet part is
not so demanding as in Sutermeister's Capriccio for unaccom¬
panied clarinet. The first movement's solo entrance is on E1,
beginning an attractive rhythmic figure. There is considerable
writing in the altissimo, peaking with A-flats4, but dynamic
levels in the accompaniment generally are very supportive.
Otherwise the range is relatively comfortable.
The second movement is beautifully lyric. The clarinet
shares material almost equally with the orchestra, except for
a seven-measure segment in which it is given several dramatic
upward sweeps culminating with a subito pp phrase beginning
on G-flat, to me the most striking portion of the concerto.
This movement leads directly into the final one, attacca.
 The third movement's generally compound rhythmic
background includes some sixteenth-note passage work,
again reminiscent of the Hindemith Concerto final movement.
Probably the most demanding technical aspects here are the
quick octave glissandos beginning on F3 and G3. During the
final twenty-seven measures the clarinet—unaccompanied—
is allowed to quietly conclude the concerto as the solo instru¬
ment. This gradual unwinding recalls the composer's earlier
Capriccio closing techniques.
The Sutermeister Concerto will not stir an audience to a
frenzy, but it is certainly worth considering if a capable
orchestra is available. I doubt its effectiveness in a recital
situation with piano accompaniment.
Preparation of this review was immeasurably facilitated
by the availability of a tape recording of the Concerto beauti¬
fully performed by Swiss clarinetist Thomas Friedli, accom¬
panied by the Beme orchestra.
Alan Ridout, Concertino for Clarinet and Strings. Emerson Edi¬
tion, Windmill Farm, Ampleforth, Yorkshire, England, copy¬
right 1978, $3. (Piano reduction), string parts on rental from
the publisher.
A composition student of Gordon Jacob, Herbert Howells,
and Peter Racine Fricker, Alan Ridout has been on the faculty
of the Royal College of Music since 1960. This concertino
is one of a series for each orchestral wind instrument, includ¬
ing saxophone, with string orchestra accompaniment. It is
true to its dimirfutive title; even with well-spaced staves, the
solo part covers only three pages. Notation is quite traditional.
There are several F^s and G4's, but relatively little writing
below open G2. Finger technique requirements are modest,
but the outer movements demand crisp, though not fast,
articulation.
The first movement is rather straightforwardly rhythmic
and is written primarily near the top of, or above, the staff.
A brief, legato second movement is followed by a thrid move¬
ment whose interest mainly derives from its basic 5/8 meter.
Useful perhaps for rhythmic and articulation study, the Con¬
certino is generally uninteresting and lacking in musical
substance.
Donald G Halloran, Five Miniatures for three clarinets. South¬
ern Music Company, San Antonio, Texas 78212, copyright
1978, $2.75.
The Five Miniatures, "for Jim Schoepflin," are titled Etude,
Song, Waltz, Tone Row, and March. They could be probably
most effectively used at the high school level as preparatory
ensemble study especially in the areas of articulation variety,
rhythmic and tonal independence of lines, and the contrasting
of dynamics. The March recalls several Sousa tunes (from
Stars and Stripes and National Emblem) in rather amusing
juxtaposition.
I Love Paris in the Springtime
Cont. from p■ 24
France, L'Orchestre de L'Opera Paris, L'Orchestre Philhar-
monique de 1' O.R.T.F. or in L'Orchestra de Paris. As a female
wind musician likely to be accused of sour grapes I'll still have
to say that most of my lovely French musician friends are
totally unaware of what is going on with music and the clarinet
outside of France.
Ah, but charm, they drip charm, "joie de vivre," take time
to taste their wine, enjoy the beauty of the day, and that is
a great lesson for us to learn.
I also enjoyed spending time with Ida Gotkovsky. She
teaches composition at the Conservatory. I find it interesting
that a woman can excell as a composer in France? She has
written several exciting and beautiful pieces for the clarinet.
Voices of Change will premiere her Concerto for Clarinet November
27 in Dallas and the more 1 yvork on the piece the more I
believe it is a truly significant addition to our literature. Our
contemporary ensemble is trying to bring Ida to Dallas in
February for a Contemporary Festival February 8-10 and hope
to see Eolienne for Clarinet and Harp premiered here at that
time. It is a beautiful work.
I would like to see a movement of her Concerto become a
required piece for the ICS Competition some year. Maybe we
could bridge some gaps between this country and France and
... women in music. I found her to be a warm and enthusias¬
tic person, eager to attend one of our ICS clinics. She has even
been to Texas and enjoys vacationing there!
My departure date, June 16th, found Paris engulfed in
rain. The City of Love was crying because I was leaving (and
vice versa). I would miss the people, their spirit, and dream
of next year and a return to Paris. Even though it is unfeminine
to play the clarinet, I love Paris in the Springtime!
Jack Brymer in Australia
A Report by Neville Thomas
By courtesy of the Australian Broadcasting Commission
the Clarinet Society of New South Wales was able to have the
doyen of English clarinettists for a meeting. During his stay,
from early April until the end of May, he appeared in all
capital cities both as a guest artist and as a recitalist.
He altered his tour dates specially for the Clarinet Society
to be able to present a master class, lecture demonstration,
and recital on the 5th of May. Piano accompanist both for this
occasion as well as during his Australian tour was Bayle Pot¬
ter, our own superb soloist, accompanist, and chamber music
performer. Thus to have both these celebrities appear during
a hectic concert tour is indeed a milestone for our society.
The Joseph Post Auditorium was full to capacity with all
floor space and stow space taken up and with all doorways
jammed with standing spectators. I am sure every clarinettist
of note was present together with Clive Amado coming from
Newcastle with his students to play for the master class along
with those from Sydney as well.
Jack had humorous anecdotes galore for the question and
answer session and discussed his recent book which he said
served to crystallize his own thinking. "1 learn something
about the confounded instrument every time I pick it up!"
The Clarinet — Spring 1979 41
 Announcements
News of Members
David S. Lewis, Professor of Clarinet and Theory, and
Chairman of the Department of Music Theory/History at
Ohio University has been awarded a grant under the Fulbright-
Hays Program. Dr. Lewis will travel to the Republic of Singa¬
pore in December where he will become co-principal clari¬
netist of the Singapore Symphony Orchestra. The orchestra,
which is the first government sponsored orchestra in the
country, is conducted by Choo Hoey, former conductor of the
Athens (Greece) State Orchestra.
Dr. Lewis is a member of the Ohio University Woodwind
Quintet, Jazz Quartet-THE PROFS, and has appeared as
soloist with the Ohio University Symphony Orchestra, Cham¬
ber Orchestra, Wind Ensemble, and Jazz Ensemble.
Himie Voxman Named
As Editorial Associate
Named to the staff of The Clarinet as an Editorial Associate
is Himie Voxman, one of the world's leading authorities on
woodwind music and Director of the School of Music at the
University of Iowa. He will contribute articles in the area of
history and literature and will serve in an advisory capacity on
all matters relating to the journal.
Himie Voxman began his music study with the late Wil¬
liam Gower, Sr. Other private instructors included Clarence
Warmelin and Gustave Langenus. He earned a B.S. in Chemi¬
cal Engineering at the University of Iowa, after which he did
graduate work for his M.A. in the Psychology of Music under
42 The Clarinet — Spring 197^
the direction of the late Carl E. Seashore. Coe College has
awarded him an honorary Doctor of Music degree.
After serving as woodwind instructor in the Iowa City
and Davenport public schools, he joined the faculty of the UI
School of Music in 1936. In 1954 he became head of the music
department and in 1964, director of the School of Music.
He is the author and compiler of several methods and
solo and chamber music collections for winds. With Lyle
Merriman he has co-authored the Woodwind Solo and Study
Material Music Guide and the Woodwind Ensemble Music Guide
published by The Instrumentalist..
Professor Voxman is a member of various professional
organizations including NACWPI, MENC, AMS, MLA, the
Galpin Society, the Bruckner Society of America, Sinfonia,
and Pi Kappa Lambda.
Compositions Requested
Southern Music Company is requesting original accom¬
panied and unaccompanied clarinet compositions for use in
the Indiana University International Clarinet Series. The pur¬
pose of the series is to enhance clarinet performance and
teaching literature. Submitted compositions should be works
previously unpublished and 10-15 minutes in length. Com¬
posers whose works are selected for the series will be awarded
a standard publication contract by Southern Music Company.
The first work to be accepted in the series is Sonnets for clarinet
and piano in four movements by Melvin"Solomon, a member
of the School of Music faculty at North Texas State University.
Index to Clarinet Magazine (1950-57)
Available
Dr. Norman Heim, Professor of Music at the University
of Maryland has compiled for research purposes a Complete
Index to the 1950-57 Clarinet Magazine and Symphony Supplement.
Many articles from the great clarinetists of that era appeared
in those magazines. The index cost is $3.00 to cover duplicat¬
ing and postage. Persons interested in having particular arti¬
cles can get copies from Heim, since he owns a complete set
of the magazines. Direct your request for an index to: Dr.
Norman Heim, Music Department, University of Maryland,
College Park, Maryland 20742. Payment must be included
with the request.
International List of Women Composers
Elsa Ludewig-Verdehr is compiling a list of clarinet music
written by women composers of all nationalities. She wishes
to learn about any manuscript or published work written by
a woman composer for B-flat or A clarinet. This includes
unaccompanied works, works with piano, with voice(s), cham¬
ber music combinations of all types, and concertos (with or¬
chestra, chamber orchestra, wind symphony, or band). All
information (including publisher or source where the work
may be obtained), no matter how obscure or obvious it may
seem, will be welcomed and will help in making the compila¬
tion more complete and worthwhile. Dr. Verdehr is Professor
of Music at Michigan State University, East Lansing, Michigan
48824.
 When I tried the Lr200, that was it,
the culmination."
Joseph H. Longo
Joseph H. Longo, Co-Principal
Clarinetist of the Minnesota
Orchestra, recently became one
of the first owners of the Leblanc
L-200 soprano clarinet.
"It has a mellow sound that can
be bright or very dark, depending "The L-200 has a different place¬
on what I need. A very solid high ment of tone holes, because of the
register that's well in tune. difference in the bore. Personally,
I find this makes the L-200 very
"The best wood comfortable to play.
is used in the
L-200. I've seen "My impression of the L-200 is
new instruments this: It's very responsive. It has
of other makers a wide range of colors. One can
play a terrific fortissimo, for
and I was quite
instance. And the tone holds
disappointed.
Theirs was quite together beautifully. Very centered,
grainy. This is smooth and pol¬ with a nice edge, but also with
ished. The pieces match each other. a certain mellowness.
"The mechani¬ "Conversely, it works equally well
cal work is in pianissimo. One was able to
marvelous. The maintain that same center of tone.
key action is The same intensity at the softest
direct, rapid. sound possible. It held together
Positive. beautifully.
"You have to have an instrument
that's flexible, that will move
when you want it to without losing
the quality or intensity. There's
a limit to how far you can go, no
matter what the instrument. But
the L-200 gives you wider limits
to work with.
The culmination.
The Leblanc L-200
"When I played it the first day,
it felt so good — really right. Lately,
I felt that other instruments weren't
made as well as they used to be.
They've lost some quality—
a certain feel, if you will.
"There's enough
involved in
pJaying a part
without having
to fight the
instrument.
That's what the
whole thing is
about. It's to have an instrument
that feels part of you. One that you
can express yourself with."
Joseph Longo has at last found
the clarinet that meets the
superior standards of an artist.
The Leblanc L-200. The cul¬
mination of over 150 years of
fine clarinet craftsmanship.
For further information, just call,
toll-free, (800) 558-9421. Or write
to Leblanc, 7019 Thirtieth Avenue,
Kenosha, Wisconsin 53140.
LEBIancQ)