Martin Fröst Encores

For your listening enjoyment this Thanksgiving week, check out Martin Fröst's incredible encores from a 2007 performance with the Lahti Symphony Orchestra:

Musical Chairs? Ricardo Morales and the New York Philharmonic

Speculation about Ricardo Morales becoming principal clarinet of the New York Philharmonic has been in the air at least since he turned down the Chicago Symphony position last year.  Now, he has officially been offered the position (according to this NY Times blog post) and it remains to be seen whether Morales will accept this offer to succeed Stanley Drucker as principal clarinet of the New York Philharmonic. 

Philadelphia would certainly be sorry to lose him -- this article from the Philadelphia Inquirer makes that clear, and also raises questions about the orchestral audition process in general.  And as always, the discussion at the Clarinet BBoard is ongoing, including a claim that Morales has already accepted the position, and another that he will actually be joining the Miami Heat instead.  :) 

We'll keep watching the BBoard and the Clarinet Jobs Facebook group for further developments.  In the meantime, check out this interview to learn more about Morales, his family, and the evolution of his musical career.

Rockinet, the Rocket Powered Clarinet

We all have days where we wish we could do this to our clarinets:




(Note: No clarinets were harmed in the making of this video!)

Adam Berkowitz's Clarinet Blog

Our upcoming column in The Clarinet (December 2010) features clarinet blogs, and we are already discovering people we have left out - it seems the quality and number of bloggers is always increasing.  We'd like to preemptively amend our list to include Adam Berkowitz, whose blog is a great read for clarinetists of all ages and abilities.  Berkowitz lives in Hartford, CT, and is an active teacher and performer who focuses on playing new music and klezmer clarinet. 

Berkowitz frequently writes posts about technique that are useful for students as well as teachers, providing interesting pedagogical perspectives.  If you're in a rut with your playing, you might benefit from his ideas about how science fiction and martial arts can be related to clarinet playing!  Berkowitz also writes about extended techniques as they relate to contemporary music as well as clarinet technique in general.  Check it out for yourself; you'll be glad you did!

Jazz Clarinet on the Web

Websites and Interviews

Chock full of information on the latest news in the jazz community, Allaboutjazz.com is a great resource for music reviews, interviews, free MP3 downloads, and articles.  A quick search of "clarinet" on the site produces pages of entries on various subjects and performers.  The entries include Bob Bernotas's recommendations of recordings for starting a jazz collection in "Building a Jazz Library," a lexicon of jazz slang for those having trouble understanding the ever-changing lingo, and information and articles on world-renowned artists as well as new talent emerging on the jazz scene.  Featured in two separate interviews found on the site, German bass clarinetist and sax doubler Gebhard Ullmann discusses his latest album and how life in both Berlin and Brooklyn influenced its conception.  Visit his personal website and you can get a taste of his modern free jazz playing in any of the numerous MP3s listed, including the option to download PDF files of his jazz compositions to play along with his recordings.  

Jazz.com has an archive of feature articles and interviews dating back to 2007, including a three-part article about the rise and fall of the clarinet in jazz, and interviews with Buddy DeFranco and Anat Cohen.  The active Jazz.com blog is interesting reading material for any jazz player, and nice search features allow for investigation of specific performers or subjects.  The Sax on the Web community has active message boards about doubling on clarinet, with many discussions about equipment for various jazz and doubling situations.  Some threads also address clarinet music and technique.  Jazz-Clarinet.com is a blog by musician Eric Dannewitz which is not updated very frequently but does feature discussions of clarinet equipment and technique, as well as some free sheet music.  The highlight is 284 pages of Aebersold ii-V-I patterns transcribed for clarinet by Dannewitz.  Some transcriptions of Eddie Daniels solos have been uploaded by another contributor.

There are many interviews (audio and written formats) on the web, and the sites we found are just the tip of the iceberg.  In an interview with Buddy DeFranco for the National Arts Endowment website, Molly Murphy asks him about why he chose to play the clarinet, playing in Tommy Dorsey's band, and his favorite clarinetist (Artie Shaw).  In a two-part segment on New Orleans clarinetist Evan Christopher in the Independent Ear blog, author Pamela Espeland interviews Christopher on his approach to jazz and breathing new life into the New Orleans style of playing, along with how his early musical experiences influenced his style and sound.  Interested in hearing some of his Creole clarinet playing? Check out NPR's website where you can listen to him perform live with the Danza Quartet in the French Quarter.  NPR is an invaluable source for not only current events and news, but also for podcasts of radio-show interviews.  In a 1985 broadcast of radio-show "Fresh Air", host Terry Gross goes in-depth with Artie Shaw on his success in the music business and why he eventually chose to leave it.  More coverage of the band leader can also be found in an hour-long production of "Jazz Profiles" back in 2008.  For complete access to NPR's coverage of Shaw over the years and to hear audio files of him playing, click here.  

The use of Albert-system clarinet in the jazz community is prevalent and the website "Albert System: The Jazz Clarinet" run by Oscar Font (clarinetist and trombonist), pays tribute to players whose use it.  The site is filled with photos of players from the turn of the twentieth century, and shows the instruments jazz legends were playing on in their heyday.  Font also provides biographical details and audio clips of Jimmie Noone, Johnny Dodds, George Lewis, and Edmond Hall.  Photos of a collection of Albert-system clarinets by Eberhard Kraut are featured, along with a photograph of the models of clarinets that George Lewis played on.  Actor/director Woody Allen is also a clarinetist, and Font has authored two books highlighting his life as a musician, which can be obtained by emailing Font directly.

You Tube videos

We have compiled a playlist of over thirty of the best and most popular jazz clarinet videos we could find on YouTube. With videos ranging from historical recordings to recent performances by jazz greats, these videos represent nearly a century of jazz clarinet playing at its best.







One of the earliest jazz clarinetists, Johnny Dodds, is well-represented on YouTube, with one video of recordings from 1923-29, and video footage of "Johnny Dodds and his Dixieland Jug Blowers" from 1926.  Our list also includes a recording of "Blue Horizon" from 1944 with Sidney Bechet on clarinet.

Many clips from old films have been uploaded to YouTube.  One of the most popular jazz clarinet videos is a clip from the film Second Chorus (1940) of Artie Shaw performing what has become known as his "clarinet concerto."  To date, it has received over 100,000 views.  



Benny Goodman is featured in several clips from the film The Powers Girl (1943), and "Sing, Sing Sing" from Hollywood Hotel (1937), which has received an astounding 1 million views and may well be the most-viewed clarinet video on YouTube.  Our list also features a montage of Goodman photos set to his "Stompin' at the Savoy," and a fun animated short set to Goodman's "All the Cats Join In."


 
Online video has made it possible for everyone to hear the original versions of old recordings uploaded by collectors and fans, such as Woody Herman's "Woodchopper's Ball" played from an old 78 rpm record.  Another treat is an old black-and-white video of Herman playing "After You've Gone" with his big band.

The videos also include incredible jazz bass clarinet playing by Bobby Mintzer and Eric Dolphy, a Woody Allen Dixieland performance in New York, and televised Pete Fountain performances of "Jazz Me Blues" and "A Closer Walk With Thee."  Other current performers such as Paquito D'Rivera, Don Byron, and Eddie Daniels can also be found on our playlist--don't miss the incredible video of Bernard Berkhout and Eddie Daniels performing "Avalon."



Listed here is just a sampling of the online jazz clarinet resources and videos we have come across. Please help us expand the list by sending in your favorite jazz videos and websites to us at clarinetcache@gmail.com.

Necktie Swabs

Neckties are a typical Father's Day gift, but they have another use clarinetists can benefit from.  Check out ClarinetCat.com and you'll see how silk neckties can be transformed into swabs for alto sax, bass and B-flat clarinets, bassoon, and oboe.  With a selection of patterns more diverse than your local thrift-store's tie collection, clarinetists are sure to find a unique and personable swab. Whether you prefer retro stripes, whimsical flying cows in a "Wizard of Oz" tie, or paisley prints, this site definitely caters to players searching for a one-of-a-kind swab.

Marion Harrington's Clarinet Blog

We at Clarinet Cache have finally recovered from the Austin ClarinetFest, and hope to be posting more frequently now!  Today, we'd like to bring your attention to the blog of Marion Harrington.

Marion Harrington is a clarinetist living in the Spain who has had an interesting relationship with the clarinet.  Originally from the UK, she was in training for a promising future as a professional clarinetist, studying clarinet with Colin Bradbury in London at the Royal College of Music, but before graduating she decided to quit playing and pursue other career options.

After over 20 years in a variety of other fields, Harrington decided to return to the clarinet and dedicate herself to returning to practicing and performing at a professional level.  Her blog therefore has the fresh perspective of someone who has returned to the clarinet "fold" later in life - passionately and systematically.  She posts her thoughts on practicing, interpretation, and clarinet equipment, along with other subjects such as business and marketing, and the future of classical music in general. 

Marion Harringon's blog has a lot to offer for amateur and professional clarinetist alike.  Enjoy, and don't miss the recent series of guest posts on breathing and Alexander Technique by David H. Thomas of The Buzzing Reed!

ClarinetFest: Day 5

Sunday was Clarinet Choir Day at ClarinetFest.  Although weary from a long week of clarinet events, we made it back to Bates Recital Hall on Sunday to catch the clarinet choirs of the Dallas Wind Symphony and the Lone Star Wind Orchestra.  Our favorite piece (although we may be biased!) was the Enesco Romanian Rhapsody, arranged by Dennis Fisher (director of the UNT Symphonic Band) for the Dallas Wind Symphony clarinets with UNT professors James Gillespie and John Scott as soloists.  This work began slowly but gradually worked into a frenzy, with lots of great Romanian themes and an exciting finish.   The Lone Star Wind Orchestra then took the stage beginning their program with a world premiere performance of Christopher Tucker's Chester Fanfare,   followed by Jukka Linkola's Chalumeaux Suite, featuring exposed solo passages played by David Gonzalez on b-flat clarinet. Once again, time constraints did not allow the group to perform all the scheduled pieces; however, the last piece of the program showcased each instrument of the clarinet family, giving each section a chance to show off the multitude of talent within the group.

It was a hectic week and we didn't attend even half of what we would have liked to, but the Austin ClarinetFest was a well-attended, busy festival with quality programming.  Congratulations to Richard MacDowell and Nathan Williams for an incredible ClarinetFest 2010!

ClarinetFest Day 4

Arriving late to the 8:30am Festival Features #3 program due to a misunderstanding of the shuttle pick-up location, the first half of the program was unfortunately missed.  I (Kellie) finally got there in time to hear Jesse Krebs play Muczynski's Fantasy Trio.  Kreb's sonorous tone blended perfectly with the cellist, and great musicianship was demonstrated across the trio.  The rest of the morning program was nicely filled with various ensembles, with the program order changed to accommodate additional performers.  Next was the D2 Clarinet Duo, two Colombian clarinetists Mauricio Murcia and Jorge Andres Velez Ospina performing original compositions by Murcia himself.  The lively and energetic performance showcased traditional Colombian folk dances and added an authentic Latin flavor to the program. Added on to the program was a piece with unusual instrumentation for clarinet and hand-held drum. Although I couldn't hear the announcement of the performers' names or the piece, it was an interesting contemporary, yet melodically oriented work that is worthy of more performances.

Jesse Krebs, Kazuo Murakami, Mira Frisch

Clarinet and Hand Drum Duo

Mid-morning on Saturday at ClarinetFest was filled with performances of newer works, leaving many of us with difficult decisions to make!  Robert Spring and Jana Starling played at 10:30, and Richard Faria was to debut the winning piece of the ICA Composition Competition at 11, while Scott McAllister's lecture-recital "McAllister on McAllister" was scheduled from 10:30 to noon. He started a half-hour later to allow people to hear Robert Spring's performance, so I (Rachel) was able to catch Glen Hackbarth's Flux, Whitney Prince's Spin, and William O. Smith's Four Duets for Four Demi-Clarinets.  The Smith work was a world premiere written specifically for Spring and Starling, and featured each player performing on two halves of the clarinet at once.  Everyone was fascinated with the unique sound of the demi-clarinets, and the two players joked around on stage quite a bit.  The combination of their individual virtuosity and their dynamism as a pair makes their performances a complete joy to hear. 

Next, people filled a classroom to hear Scott McAllister's presentation about his life and work.  He shared the story of his promising career as a clarinetist which was cut short by a car accident that damaged his right hand.  McAllister said that after the accident, he began to focus on composition, and talked about the inspiration for such pieces as X, Black Dog, and Bling Bling.  He played X in its entirety as well as part of Bling Bling, and impressed everyone with his abilities as a clarinetist despite his injury.  He also offered some tips for clarinets working on his music, emphasizing that in his music, style and energy is more important than notes.

Scott McAllister

A highlight from the afternoon was Eric Mandat's premiere of his Three Studies, composed specifically for the celebration of Stanley Hasty's life and teaching.  This work featured an all-star clarinet ensemble of Hasty students with Eric Mandat conducting, and was based on etudes that Hasty used in his teaching.  The work was a great end to the afternoon-long celebration of clarinet legend Stanley Hasty.

The Saturday evening concert at Bass Concert Hall was a concerto concert, featuring soloists with the ClarinetFest Orchestra.  First was Alan Kay with an exciting performance of the lesser-known Busoni Concertino.  Then Philippe Cuper dazzled the audience with his rendition of Spohr's Concerto No. 2.  Probably one of the most difficult clarinet concertos, the piece frequently ascends to double high C, and demands great technical virtuosity from the soloist -- which Cuper certainly delivered.

The second half of the concert began with Sergoi Bosi playing two shorter Italian works for clarinet and orchestra.  He engaged the audience (and orchestra) with his confidence and expressive physical presence onstage.

The Copland Concerto is probably the most well-loved clarinet concerto of the twentieth century, and José Franch-Ballester's commanding performance was outstanding even at a ClarinetFest filled with great performances.  The appreciative audience was instantly on their feet to give him the old "Texas Stand-up"!

ClarinetFest Day 3

With all of the great programs scheduled during the festival, it's hard to choose which ones to attend and there is never enough time to take everything in. Taking the morning off from concerts to spending time to peruse the exhibit booths was a nice break.  With so many vendors to visit, it was easy to feel like a kid in a candy shop. All of the accessories, instruments, and music booths were divided amongst the three separate rooms, all of which were busy, sometimes filled with people elbow to elbow.  The cacophony of clarinet sounds coming from some of the rooms was deafening and it was necessary to step out into the hall to get a breather; however, the excitement was contagious and seeing so many familiar faces was more than welcoming.  Coming to festivals like this is a reminder of how friendly and personable the clarinet community is.

ClarinetFest 2010 Exhibit Hall

After spending more than nine years as a resident of Texas, I (Kellie) made it a point to see the Texas Artists-Teachers concert in the Bates Recital Hall.  A majority of the program consisted of chamber works starting with a light-hearted clarinet, flute, piano trio by Donald Draganski.  The next work was Rebecca Clarke's Prelude, Allegro, and Pastorale for clarinet and viola with David Shea's dark and warm timbre blending nicely with violist Renee Skerik.

David Shea and Renee Skerik

The third piece, Ben Stonaker's Lachrymose (2010) for Clarinet (B-flat and Bass), Violin, and Viola, added a nice contemporary edge to the program.  The descriptive movement titles alone suggest the overall mood of the piece: "dust in a sunlit stairwell," "tiny fragments of things that were no longer there," "floating aimlessly," and "sinking slowly."  Multiphonics and other contemporary techniques were employed throughout the piece, adding to the overall effect of subtle texture and timbre changes.  At one point in the music Mary Alice Druhan removed her bass clarinet mouthpiece and blew into the neck, creating an eerie sound as she voiced notes with only her air stream.  

Mary Alice Druhan, Ute Miller, and Mark Miller

The next piece featuring clarinetist Richard Shanley lightened up the mood of the program. His trio played Libby Larsen's Barn Dances for flute, clarinet, and piano, which is a four-movement work inspired by cowboy dance steps, with the second movement being an homage to Gene Autry.  Always a standard piece at clarinet festivals, the Poulenc Sonata was then played by UT alumna Mary McKinney Schani.  The following Trio in B Minor by Edouard Destenay for clarinet, oboe, and piano showcased clarinetist Christopher Ayer's polished technique and lyricism alongside the spectacular piano playing by his wife Kae Hosoda-Ayer.

Christopher Ayer, Kae Hosoda-Ayer, John Goodall

Closing the concert, the Texas Clarinet Consort's jazzy tunes proved to be a great way to wrap up the program.  The second piece, "When I Fall in Love" was dedicated to the late David Etheridge, who passed away shortly after ClarinetFest began and will be greatly missed in the clarinet community.  Both the performers on stage and the audience could feel the sadness and loss through the group's tender rendition of the tune.  Following up with an upbeat Texas Clarinet Consort favorite, "A Toot in Ninesia," many giggles could be heard throughout the audience as the players themselves let loose and enjoyed the piece as much as the audience.

Texas Clarinet Consort: Robert Walzel, Raphael Sanders, Doug Storey, Gary Whitman, James Gillespie, John Scott

Meanwhile, the "Bass Clarinet Blow-Out" was happening in McCullough Theater.  Sponsored by Rico, the concert opened and closed with bass clarinet ensemble pieces, with solos and duos in between.  The first piece was an arrangement of Paquito D'Rivera's "Afro" from Aires Tropicales for five bass clarinets: Lawrie Bloom (USA), André Moisan (Canada), Rocco Parisi (Italy), Alcides Rodriguez (USA), and Pedro Rubio (Spain).  It was a nice arrangement, and though rhythmically challenging, the group performed it well.  Other highlights of the concert were André Moisan's performance of his own piece Quantum Leap for solo bass, and Lee Hyla's We Speak Etruscan for bass clarinet and bari sax, performed by Alcides Rodriguez and Nathan Nabb.  The concert concluded with a giant bass clarinet ensemble playing Michael Smetanin's exciting Ladder of Escape.  For all the bass clarinet enthusiasts in the audience, it was spectacular to hear these bass clarinetists all together on one concert.

Bass Concert Hall

The Friday evening concert at Bass Concert Hall featured the three famous clarinet quintets by Mozart, Weber, and Brahms, performed by the Grammy-winning Enso Quartet with three stellar clarinetists.  First was Franklin Cohen's rendition of the Mozart, then Greg Raden with the Weber, and Richie Hawley performing the Brahms.  Unfortunately, we were late getting to the hall in time to hear the first piece, but while waiting in the lobby to enter the concert hall, we could see and hear Franklin Cohen performing the Mozart Quintet with the Grammy nominated Enso String Quartet on a large-screen television.  Also piped into the bathrooms, it was clear even through the speaker system how beautiful Cohen's tone was.

After the exquisite melodies of the Mozart, Greg Raden took the stage to perform the Weber Quintet.  One would never guess that Raden and the quartet had only two rehearsals prior to the performance. The overall ensemble effect was impeccable as melodies were seamlessly passed between players.  To everyone's amazement the tempo of the last movement was quite swift, yet as usual, Raden's beautiful resonant tone and facile technique never faltered.

A change of program order placed the Brahms Quintet last and once again the Enso Quartet returned to the stage to play with Richie Hawley.  In this group, the seating arrangement was altered so that the clarinetist was on the outside right corner instead of the middle, and this created a noticeable difference in the balance of the group from where we were sitting.  Although Hawley was positioned away from us, it did not prevent his expressiveness and excellent musicianship from shining through.  The Enso Quartet exhibited an expressiveness and sensitivity rarely heard in live performance.  The level of musicianship of the players was enthralling, and audience turnout was probably the highest of any of the evening concerts.  This concert was a clear highlight of the entire conference.  

Greg Raden and the Enso Quartet