Originally published in The Clarinet 52/2 (March 2025).
Copies of The Clarinet are available for ICA members.
Book and Music Reviews:
March 2025
BOOKS
Kristine Dizon. Achieving Virtuosity: Complete Scales & Arpeggios for The Intermediate Clarinetist. Self-published, 2022. 163 pages. $13.99. www.musicandlanguagecenter.com.
This well-organized book offers a comprehensive approach for intermediate and advanced clarinetists to master their scales. Dizon notes that Achieving Virtuosity is designed to address technique issues she observed while teaching her own students, with a primary focus on fingering options and establishing a solid foundational scale technique early in a clarinetist’s studies. Dizon has carefully selected and revised specific exercises from J.B. Albert’s 24 Varied Scales and Exercises for Clarinet and Hyacinthe Klosé’s Complete Method for the Clarinet. The book begins with chromatic long tones, which include excellent fingering options from low E to extreme altissimo C. It is then organized by key, featuring five pages of Klosé mechanism exercises in each specific key, followed by one page of Albert scale patterns in the same key. Fingering suggestions are included throughout. The recommended practice structure includes chromatic long tones, mechanism exercises, and scale patterns. In the introductory remarks, Dizon provides charts for fingerings, suggested rhythms for practicing the exercises, and general tips on hand position, using a metronome, and effective practice methods. I recommend this book for its clearly printed, progressive, and well-thought-out excerpts from two of the most widely used scale resources for clarinetists worldwide. The reconfigured scale patterns and selected exercises are the culmination of Dizon’s many years of teaching experience. This book is organized by a master teacher and will undoubtedly yield results, significantly improving technique for intermediate and advanced players.
– John Cipolla
Josef Focht and Heike Fricke. Lost and found: Die Klarinette des Fuersten (Clarinets of the Princes). Hollitzer Verlag, Vienna. 2024. €30 paperback, €29.99 PDF.www.hollitzer.at/werke/fraktal.
This is the second volume of the Fraktal series promoted by the Musical Instruments Museum of Leipzig University, written by two eminent researchers active in the field of digital organology. Their tremendous work of research on several musical instrument collections gives us an incredible amount of valuable information, documents, and iconographic material. In this book we clarinetists can learn so much fresh information about the great German clarinet virtuoso Simon Hermstedt (1778-1846), active at the Sondershausen Court of Prince Guenter von Schwarzburg-Sondershausen, who was also an amateur clarinet player. The authors of this book treat us to the innermost details of the clarinet in B-flat that belonged to that prince (preserved at the Musical Instruments Museum, Leipzig University), identical to the one in B-flat (but not stamped, now preserved at the Tuebingen University) that belonged to Hermstedt, who owned, as mentioned in the book, B-flat, A, C, D, E-flat and F clarinets.
We must cite also a very beautiful mahogany decorated case (from 1828) donated some years ago from the Hermstedt family to the well-known German clarinetist Sabine Meyer and her husband, containing Hermstedt’s clarinet with an ivory barrel, a metal silver mouthpiece, and an ebony bell, and also some reeds that belonged to Hermstedt. Meyer then donated this case with the clarinet of Hermstedt to the Tuebinger Museum. The clarinets belonging to the prince and to Hermstedt had been made by Johann Heinrich Gottlieb Streitwolf (1779-1837) from Goettingen. He was a very skillful, innovative maker, having his own peculiar style. He made clarinets of different sizes, including basset horns and bass clarinets with curious shapes.
Hints of clarinet history are present in the book—in particular regarding how the Mueller system clarinets related to the clarinets used by Hermstedt and the prince. Precious information about the life of Hermstedt is provided, including his important relationship with Louis Spohr, who dedicated to him so many significant clarinet works. Composer F. Eberwein (1775-1831) also dedicated at least seven works to Hermstedt (now completely forgotten), and A. Methessel (1785-1869) wrote a Romanza, performed in Hermstedt’s numerous concerts across Europe. The authors cite reviews from journals of the time that decribe the style of playing of Hermstedt, who was highly praised for his musicality, virtuosic approach, and the many tone colors he obtained in spite of the hard material of his metal silver mouthpiece. C.M. von Weber met and heard this virtuoso (his Grand Duo was initially intended for Hermstedt, but then the composer decided not to dedicate this work to him) and stated that Heinrich Baermann (dedicatee of most of his clarinet works) could produce more nuances than Hermstedt in the soft dynamics. In this book also there are plenty of interesting and beautiful photos of various clarinets from different European collections to illustrate the historical organological concepts. This very interesting book is only available in German, but an English translation would be more than welcome! Many congratulations to the co-authors Focht and Fricke!
– Luigi Magistrelli
MUSIC
Michele Mangani. Executive Fantasia for B-flat clarinet and piano. Edizioni Eufonia, 2010. Paper: €19.00; PDF: €18.00; Paper and PDF: €21.00. www.Edizionieufonia.it.
Italian composer Michele Magnani’s (b. 1966) works are well known in the clarinet community. His Executive Fantasia for clarinet and piano is no exception to his stellar history of excellent lyrical writing with technical passagework that lays well on the instrument. Originally composed for clarinet and piano in 2010, it has been arranged by the composer for clarinet trio (two B-flat clarinets and bass) in 2019, clarinet and wind ensemble in 2017, and for clarinet choir in 2022. Sold as a hard copy, a PDF, or as a package containing both, the work is available in a variety of formats, making it easy for anyone from professional to student to purchase in the way that works best. At around five and half minutes, the piece would fit nicely on a concert program as an opening piece or work well for a jury. Executive Fantasia provides an opportunity for a wide range of players to produce a successful and satisfying performance.
The accessible key areas make this a great piece for an undergraduate or ambitious younger student to begin to learn Italian musical style and phrasing; it is through-composed in ABA form. The first A section presents the moody and nostalgic theme found throughout the outer areas of the work in the first eight measures. The simple two-measure/two-measure/four-measure musical theme is elaborated upon throughout the A section, much like a theme and variation. It then gives way to the B section, full of lovely, soaring, and hopeful melodic material with lots of opportunity for expression at a slower tempo. The A section returns with significantly more technical flourish. There is one prominent theme throughout the A sections, making it a great opportunity to work with students on expression in variation while also getting serious about technical precision. The range of the work does not exceed altissimo D, the tempi are not fast, and the technical passages are not so difficult that this is only playable by the virtuosi among us. The range, style, and expressive qualities of this work make it one of those rare pieces that can be performed at a number of levels, from the recital of a younger advanced student to a faculty recital.
– Luigi Magistrelli
Nadine Silverman. Voix des Femmes for clarinet quartet (EÌ/BÌ, 2 BÌ, bass). Self-published, 2023. $29.99. www.nadinesilverman.com.
Voix des Femmes is an intriguing new work for clarinet quartet by Nadine Silverman. Premiered in Denver at the 50th annual ICA ClarinetFest® in July 2023, this piece is a welcome addition to the repertoire for small clarinet ensemble. The movements of Voix des Femmes are based on the members of the eponymous quartet. The group is comprised of Jennifer Everhart, Laura Grantier, Melissa Lander, and Donna Noyes. Correspondingly, the movement titles are “Strength (for Jennifer)”; “Meditation (for Melissa)”; “Dance (for Donna)”; and “Adventure (for Laura).”
In the composer’s notes, she discusses the stereotypes of women in music, stating,
Traditionally, many Classical and Romantic musical works feature two main themes: the primary theme and the secondary theme. In many outdated writings on music, there is a sexist conflation of secondary themes with femininity because they are typically lyrical, sweet, docile. Not only does this terminology assign gender labels where they are not relevant, it posits that there is only one way to represent femininity. This piece is full of “feminine themes,” that is, melodies written to represent the many ways women may present themselves. Each movement represents each of the four women in the commissioning quartet. None of the themes in this piece attempt to “inflict tonal dominance” over other themes. All the melodies throughout the piece are given ample space to exist and speak freely without traditional tonal conflict.
The first movement, “Strength (for Jennifer),” opens with a strong bass clarinet line that segues into a quirky interplay with the soprano clarinets. Flowing and undulating in texture, the work then takes us on a wild romp to an exciting conclusion. The next movement, “Meditation (for Melissa),” is lovely and winsome, with a sweet flowing solo line intertwining with the other members of the group. The third movement, “Dance (for Donna),” is an E-flat clarinet feature that takes the listener through various tableaus that are as multi-faceted as the women that the music represents. The conclusion, “Adventure (for Laura),” is an evocative picture of longing and nature that is almost visual in its strong textures and contrasts.
Silverman writes distinctive and memorable music for each of the women in the quartet, without the piece feeling disjunct. As a clarinetist, she is obviously familiar with the moods and inflections of the instruments. She is completely comfortable in this idiom, alternating between inspired bursts of virtuosity and lyrical, expressive soliloquies. When she expands the range of the group, for example in the E-flat and bass parts, she does so with the expert eye of a performer, knowing the full power of her compositional style.
Silverman writes in a clear and idiomatic style for the clarinet, which gives the work a unified flow and consistent musical style. Silverman’s writing is relatable, current, and thoughtful throughout the piece. In her homage to the members of the group, she creates a spirited and distinctive work for all clarinetists to enjoy.
– Stephanic Zelnick
Giuseppe Garbarino. Miniature: Visions of the End of Summer for clarinet and piano. Edizioni Eufonia, 2024. Paperback: €20.00; PDF: €19.50. www.Edizionieufonia.it
Giuseppe Garbarino (b. 1937) is an Italian clarinetist, composer, and conductor. His work Miniature: Visions of the End of Summer is a five-movement piece for clarinet and piano. Of the work, Garbarino writes that “the subtitle refers to atmospheres, elusive emotions, observing days of summer that slowly decline toward autumn, summing up in a crucible of fleeting sensations.” Garbarino goes on to write that there are elements of popular music as well as jazz incorporated into the work to further reflect the special charm of this time of the year. Of the five movements, the two longest do not exceed three minutes each, with all other movements being two minutes or under, bringing the total performance time to around 11 minutes. The overall musical style is clearly jazz-influenced, but not in an obvious way; expressive melodic lines are accompanied by unexpected and rich harmonic progressions. This use of the jazz idiom creates a tonal language that is harder to interpret than other works similar to it, making it more appropriate for advanced players with experience with modern harmonies and interpretation. The range and rhythmic language, however, are accessible to college undergraduates and more advanced younger players, though they would likely require assistance in the phrasing and interpretation of the tonal areas. These unique attributes could make this work a great opportunity for students to explore an extension of the tonal language they may already be familiar with. Each movement is through-composed in an ABA or AB musical form, creating a compact musical kernel. The emotional range of the movements oscillates between reflective and contemplative, and strangely cheery, mirroring how many feel at the end of summer as we are both looking ahead to the coming cooler months while also trying to wring the most out of the few remaining days of the freedom and jollity associated with summer. This is a wonderful little suite of movements that would be at home in a variety of concert performances.
– Vanessa Davis
Max Reger. Sonatas No. 1 & 2, op. 49; Sonata, op. 107; Tarantella and Album Leaf for clarinet and piano. G. Henle Verlag, 2024. €49.50. www.henle.de.
The clarinet repertory had high points both in the Classical period with the masterpieces of Mozart and then in the late Romantic period with the masterpieces of Brahms. The clarinet compositions of Brahms had an incredible impact on other composers who wanted to create new works with the same instrumental combinations, such as sonatas with piano, trios with piano and cello, and quintets with strings. We can cite the G. Jenner Sonata (1900), S. Kreul Quintet (1902), H. Marteau Quintet (1909), and the W. Berger Trio (1905) as a few prominent examples of the early 20th century. Max Reger (1873-1916) followed his inspiration after listening to the Brahms clarinet Sonata in F Minor, op. 120, performed at the home of his former teacher Adabert Lindner in Weiden (Germany) by a first-rate clarinetist of that period, the city’s Kapellmeister Johann Kürmeyer. In early May 1900, Reger started to compose his Sonata No.1 in A–flat Major, op. 49 and then the Sonata No. 2 in F–sharp Minor, op. 49, which was completed in a short time in the same period, as appears in a letter to a conductor, G. Goehler. By this time, according to Lindner, the A-flat-major sonata had already been played by Kürmeyer at a private gathering. The same happened later with the F-sharp-minor sonata.
The exhaustive preface of this valuable Henle edition states that this second sonata was published by the Munich publisher Aibl on October 21, 1903. The first sonata was already printed by June 1901. Reger gave up his original idea of dedicating it to the Hamburg piano teacher and music critic Emil Krause following a dispute with him. The second sonata probably appeared at the end of 1903. It is dedicated to clarinetist Karl Wagner (1873–1950), who had given the successful first performance of the first sonata at the Museumssaal of the Palais Portia in Munich on April 18, 1902, accompanied by Reger. The second sonata was premiered on April 29, 1904, also in Munich, by Max Reger and Anton Walch. The Sonata in B–flat Major, op. 107, was written four years later. Reger’s first reference to the work was in a letter from Leipzig of December 23, 1908 to Lili Wach, the youngest daughter of Felix Mendelssohn. Reger defined it as a new “crime against harmony,” but he expressed his good feelings to the publisher Henri Hinrichsen stating that the character of this new sonata was light, not too tiring, and not too long. The work appeared in July with a dedication to Grand Duke Ernst Ludwig von Hessen und bei Rhein (1868-1937).
Quite often the Reger clarinet repertoire is neglected for being considered a bit hard and problematic both for the ensemble playing with piano and the understanding of its elaborated harmony. A sense of meditation and nostalgic feelings present in these works are elements clearly in common with the Brahms clarinet repertory. On the contrary, the two short pieces published together with the three sonatas, Tarantella and Album Leaf, have a simple structure, carefree, with lightness in the writing. Both belong among the total of 15 works for various instruments that appeared between October 1901 and March 1903 as musical supplements to the periodical Die Musik-Woche, only founded in 1901. The Dresden publisher E. Hoffmann issued the works in 1905. We should also cite the wonderful Reger late composition, the Quintet op. 146 (1915) also published by Henle. The Munich Henle edition is, as always, very accurate in all details being based on all possible sources, starting from the very first edition of these works. Michael Kube did a fine job in offering the most reliable scholarly version of these beautiful clarinet compositions.
– Luigi Magistrelli
Robert Knable. Trittico for B-flat clarinet and piano. Opus Music Publishers, 2024. $15.50 (score and part). www.opusmusic
publishers.com/product-page/trittico.
Robert Knable is a composer, freelance woodwind performer, conductor, and professor of music for over 35 years. He has taught at Sacramento City College, Berklee College of Music, and Solano Community College. He has composed works for various ensembles, including chamber, orchestral, jazz, and theater. He has a master’s degree in composition from the University of Arizona and a bachelor’s degree in composition from University of Southern California. The title of this piece for clarinet and piano, Trittico, is Italian for triptych, which is a work of art that is made up of three pieces or panels. In three short movements, the composer explores the textures and contrasts of clarinet and piano.
The first movement (Allegro) is in ABA form and begins with a whimsical, dance-like motive in the clarinet that is quickly answered by the piano. A charming dialogue ensues until the music relaxes into a short, reflective B section. When the A section returns, there is the addition of light, staccato notes in the clarinet part which give an even more playful feel. The second movement (Andante) also feels like ABA form because the outer sections are lyrical and flowing, while the middle section is more active with mostly 16th notes in mixed meters. Movement three (Slowly, Broadly) begins with 20 measures of clarinet alone. Though one might think of this as a cadenza, there are many tempo indications to guide the performer’s use of rubato. At the end of the cadenza, the clarinet introduces the Presto tempo before the piano enters, and a jaunty syncopated theme is played by the clarinet. This movement is the longest of the three, with several different sections of contrasting characters.
Trittico is an accessible piece for both the performer and the audience and would be a welcome non-standard addition to a recital, either for professionals or advanced college students.
– Robyn Jones
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