ClarinetFest® 2023 in Review
ClarinetFest® 2023 Day 4
ClarinetFest® ICA Choir Performances
by Angelina Gibson
A staple of the ICA and ClarinetFest®, the clarinet choir concerts on Saturday, July 8th were full of variety and joy. The audience’s excitement was felt as they readied themselves to see their friends, family, students, and/or their professors perform. The Amateur Choir, with Al Woy as its conductor, opened with Sousa’s Liberty Bell march. Next, the Allegro Moderato from the Albinoni Double Oboe Concerto shows the ensemble’s investment in the execution of different styles, whether Baroque or the early American Jazz style of St. Louis Blues. Woy’s selections ended with the Lenny Neihause arrangement of Simple Gifts and Pirates of the Caribbean, the latter being met with appreciation from both ensemble and audience. When asked about his hopes for the Amateaur Choir, Woy emphasized that the “amateur clarinet demographic is one of the largest” and ought to be considered a legitimate market for clarinet companies.
The Youth Clarinet Choir, under the direction of Sunshine Simmons, followed. The ensemble was smaller than the previous choir, but had no bearings upon their effectiveness. Its players capture the jaunty charm of Grainger’s Mock Morris and the atmospheric texture of Jenni Brandon’s At Night. Simmons notes that the students “really rose to the challenge” of the Brandon, a piece inspired by the “freedom of the wind in the trees.” But the “fan favorite” Piazzolla Libertango brought their program to a satisfying and exciting finish, which was met with a standing ovation for the next generation of clarinetists.
Dr. Lynn Musco directed the College Clarinet Choir and noted the students “did an amazing amount of work.” Gordon Jacob’s Wind in the Reeds demonstrates the students’ enjoyment and eagerness to perform with character. Towards the Wind by Anthon Bailey, a departure in mood, remains in ever-present motion and thrusts the audience into a rapid middle section—demonstrating the ensemble’s ability to navigate shifts in temperament. The choir’s performance of Luca Luucchetta’s arrangement of Zequenha Abreu’s Tico Tico was met with delighted applause. Dr. Musco hoped the performance attested to the “educational value” of the clarinet choir to students’ development.
The Professors’ Clarinet Choir was conducted by Dr. Jesse Krebs, who expressed his honor to be conducting his “mentors and role models.” Krebs’ program was a selection of his personal favorites, beginning with the humorous Clownery for Clarinets and then to Amanda Harberg’s Tenement Rhapsody “At Home.” Alexi Ciesela’s Klezmer-infused Seven Sparks showcased memorable solos from Jason Alder (contrabass), Nancy Williams (B-flat), and Jefferey Brooks (B-flat). Truly, an audience cannot help but love the piece’s spirit. The final piece, Paquito by Andy Scott, showcased the infectious joy and love for music-making in its homage to Paquito D’Rivera.
The concert closed with the Festival Clarinet Choir along with Robert Walzel as its conductor. Walzel’s program focused on arrangers who had passed within recent years to celebrate their contributions to the clarinet choir repertoire. Daniel Freeman’s arrangement of Bach’s Jesu, Joy of Man’s Desiring, Guido Six’s of Blusette, Norbert Goddaer’s of Miller’s Mood, Ronald Scott’s of Dvorak’s Poco Allegro from his Five Bagatelles, and Todd Kerstetter’s of “Bohemian Rhapsody” demonstrated the fantastic range of the repertoire. Jesu was definitively effective, as the choir emulated the dignity of an organ—likewise, the Dvorak the orchestral sound. Miller’s Mood, a nostalgic medley of Glenn Miller songs, invited the audience to dance, while Bohemian Rhapsody prompted them to sing along. But a truly communal and memorable moment came in the performance of Blusette: past ICA President, John Cipolla, joined the ensemble’s array of enthusiasts, students, professors, and youth. The 2023 conference’s emphasis upon community was embodied in this particular performance so ardently. Walzel remains convinced that the choir is the ultimate chance for all clarinetists to come together in pursuit of playing, especially at a conference of this magnitude. If anything was taken from these choir concerts, it was the celebration of ICA’s communal mission, which is something sacred and lasting.
