Larry Guy's lecture about Daniel Bonade was a fascinating tour of Bonade's most important contributions to clarinet pedagogy. Guy discussed Bonade's concepts of tone production, embouchure support, legato fingers, and phrasing in great detail. He also had audio examples of Bonade performing with the Philadelphia Orchestra, illustrating each concept with the playing of the master himself.
In a subsequent platform dedicated to Bonade, Shannon Thompson's presentation on the evolution and attainment of Bonade's signature sound traced the orchestral aesthetics established with his appointment to the Philadelphia Orchestra. Thompson covered equipment Bonade used over the years and his influence and control on his students' own setup. After following the evolution of mouthpiece and barrel modifications, she also addressed how Robert Marcellus carried on Bonade's teaching legacy through his own teaching philosophy. Thompson's wonderfully edited power point presentation included rare video footage of Marcellus giving master classes. Although the audio was a bit hard to hear at times, it was a real treat to see and hear him teach!
The pedagogy round table with Deborah Chodacki, Denise Gainey, Larry Guy, and Richard MacDowell continued the discussion of the legacy of teachers of Bonade's generation. The conversation began with anecdotes about the confrontational teaching style of oboist Marcel Tabuteau, professor of woodwinds at Curtis, and Kalmen Opperman. Gainey related what Opperman said to her in her first lesson: "You don't know a g-d damn thing about the clarinet!"
|Pedagogy round table|
The discussion also touched on how involved teachers should be in their students' lives, from addressing psychological problems to being friends on Facebook. The audience had quite a laugh when Chodacki attempted to imagine what Robert Marcellus' Facebook page would look like!
One of the afternoon concerts featured french clarinetist Sabrina Moulai performing standard pieces by Francaix, Schumann, and Rossini. Dazzling the audience with her velvety tone and flawless technique, Moulai's musical sensibilities and subtle rubatos made every phrase come alive.
On a separate program, Czech clarinetist Karel Dohnal brought house down with his performance Karlheinz Stockhausen's Harlekin for Solo Clarinet. For almost forty-five minutes, Karel captivated the audience with his choreographed acrobatic moves, hilarious facial expressions, and his everlasting stamina-all while playing the clarinet!
|44 Contras rehearsal|
|ClarinetFest Bass Clarinet Ensemble|