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May 2010 Hot News

25 - 27 May 2010

2nd Annual Music and Medicine Symposium and Stanley Drucker Residency at Wright State University, Dr Randall Paul, Director

Dayton, Ohio USA

        A special 3 days including collaboration with the University Department of Medicine covered separate but related areas common to both professions.   Sessions were held separately by both departments with some fused together with panelists conferring together in a session about health and injury issues facing performing musicians.  Dr Stanley Drucker and his wife Naomi took a major role in Master Classes and a major finale concert including recital and performance of the Weber 2nd Clarinet Concerto for a full house at the Schuster Concert Hall in the Creative Arts Center on campus.   Director of this Symposium was Clarinet Professor Dr Randall Paul and his wife Nora Paul, a former student of Naomi Drucker from years past.  This made this appearance special for all involved.  Programs of all the Classes and concerts galleried throughout this summary.

         Two days of all day Master Classes with Stanley Drucker covering an entire gamut of recital literature, Orchestral studies, Chamber Music coaching including a Clarinet Quartet and Schubert's Shephard on the Rock was extensive, critical but positive.  Students were well prepared and showing fine fundamental training from their teacher Dr Paul.  Open rehearsals for Stanley Drucker gave an inkling of how the preparation works especially the Weber Concerto with the University Chamber Orchestra.

       On the 3rd day there were seminars about the Buffet-Crampon Clarinets, their differences, an overall history of the firm, and display of several instruments available to try and if interested buy.   Dr Drucker covered a student trying out several horns and carefully screening them for finding the best one to satisfy the students.  She picked an R13 and she bought it the same day.  That afternoon the Medical-Music Seminar was held where issues such as Stage fright and nerves at performance were discussed and how to deal with it, some players actually taking medicine such as Beta Blockers to tone down the nerves, not really a recommended practice.  Physical problems such as corper tunnel issues talked on and the panel included Dr Daniel Paprowski, the Druckers, and Dr Paul along with the Medical Professors, many of whom brought questions related to the topics.  Sessions were very useful for all who came.

       All the programs including 2 major performances by the University Chamber Orchestra made this a major event not to be missed. This was one of the outstanding Clarinet Days of the season, and Dr Paul and all involved are to be commended.  Special recognition and appreciation for his generous financial support for this Symposium goes to Val Hattemer, a successful businessman and amateur clarinetist who has established scholarship funding at this University and has donated to other important events including the Oklahoma Clarinet Symposium.  He is an avid admirer of Dr Drucker and his accomplishments.


23 May 2010

Anderson Twins Sextet celebrate Artie Shaw's Centennial

New York City USA

Anderson Twins Sextet celebrate Artie Shaw's Centennial - CD- $15

Celebrating Artie Shaw and Benny Goodman
Recorded Live at 59E59 Theaters, NYC
May 23, 2010 (Artie Shaw's 100th Birthday!)
All arrangements by Peter and Will Anderson

1. Avalon (A. Jolson)
2. What is This Thing Called Love (C. Porter)
3. Stardust (H. Carmichael)
4. Carioca (V. Youmans)
5. Moonglow (E. De Lange)
6. Stealin Apples (F. Waller)
7. Concerto for Clarinet (A. Shaw)
8. Frenesi (A. Dominguez)
9. China Boy (P. Boutelje)
10. Begine the Beguine (C. Porter)
11. Goodbye (G. Jenkins)
12. Shine (L. Brown)
13. Nightmare (A. Shaw)
14. Oh, Lady Be Good (Gerswhin)

Peter & Will Anderson (clarinets, saxes, fl)
Jon-Erik Kellso (trumpet)
Ehud Asherie (piano)
Clovis Nicolas (bass)
Kevin Dorn (drums)

To buy this product please e-mail:

There are 7 full-length videos of our concert on you tube:

Here are links two several reviews of the "Artie Shaw Tribute" concert run, including one from the NY Times: (bottom of page)

Here's are review of our CD:

This is our website, and a link to information about our CD:
Pete and Will Anderson, 23-year-old identical twins, are recent graduates of the Juilliard School in New York City, and are "virtuosos on both clarinet and saxophone..." (New York Times). To celebrate the great clarinetist's 100th birthday, they performed two weeks worth of concerts at New York City's 59E59 Theaters, May 18-30. The concert was recorded live in 59E59's beautiful 200 seat theater, on May 23rd, 2010, 100 years after Artie Shaw's birth, to the day. The Andersons almost met the man who had influenced them so profoundly. Shaw was to be honored on Jan. 5, 2005 with a National Endowment for the Arts Jazz Masters award; previous winners include Basie, Dizzy Gillespie and Miles Davis. The twins would be playing clarinet at the ceremony in Long Beach, CA, and looked forward to meeting and possibly even having a conversation with the legendary band leader. Shaw had made plans to be there, but died six days before. Well, they might not have gotten to meet their hero, but in Shaw's honor, this concert means much more to them.


In New York City, Pete and Will have established themselves as two of the most promising up and coming jazz reed players. Beginning on the clarinet at age 9, they soon added the saxophone. Their studies took off in high school when they began studying with D.C. saxophonist Paul Carr. While still in High School, Peter and William were members of the internationally selected Clifford Brown/Stan Getz Fellows, Jazz Aspen Summer Sessions, Dave Brubeck Summer Colony, Scholarship winners at the Fish-Middleton Jazz Competition, were Downbeat Magazine outstanding soloists, and toured the United Kingdom as featured reed soloists.

After high School, they began studying at the prestigious Juilliard School’s Jazz Program in New York City. They have studied with Barry Harris, Frank Wess, James Moody, Kenny Washington, and Chris Byars among others. They have performed at top jazz venues such as New York's Blue Note, Birdland, Village Vanguard, Carnegie Hall, London’s 100 Club, the Montreal Jazz Festival, and in Scotland, Japan, and Costa Rica. Peter and William play their own original compositions as well, which have been performed at venues such as IAJE’s 2006 international convention, and Dizzy’s Club at Jazz at Lincoln Center in New York. Leading their own quintet, they have performed at such venues as NY's Dizzy's Coca-Cola Club, Smalls Jazz Club, Fat Cat, Cleopattra's Needle, DC's Blues Alley and Twins Jazz Club, as well as internationally.

Recently in 2009, Peter and Will were both selected for the "Betty Carter's Jazz Ahead Program" and the "Young Artists at Ravinia" Jazz Residency, giving them the opportunity to perform their original compositions at the Kennedy Center and the Ravinia Jazz Festival. Outside of their own quintet, Will and Peter often play with the The Village Vanguard Orchestra, Lincoln Center Jazz Orchestra, Vince Giordano's Nighthawks, the Loren Schoenberg Big Band, and the Teddy Charles Tentet. On clarinet, Peter and Will have been a featured soloists with the Juilliard Jazz Orchestra, the Arturo O'Farrill Orchestra, and the Stan Rubin Orchestra playing the music of Benny Goodman, Artie Shaw, Woody Herman, and others.


20 - 23 May 2010

2010 International Woodwind Instruments Competition in Warsaw, Poland May 20th -  23rd.  Sponsored by the Praska Muza Association, Stanisław Moniuszko School of Music and Fryderyk Chopin School of Music

Warsaw, Poland

            The 2010 International Woodwind Instruments Competition in Warsaw, Poland occurred May 20th through the 23rd. It was sponsored by the Praska Muza Association, Stanisław Moniuszko School of Music and Fryderyk Chopin School of Music. The event offered young clarinetists the opportunity for growth in their playing through preparation of multiple pieces. They were afforded the experience of performing solos from memory with piano on stage for an audience; and finalists performed with the Concerto Avenna Orchestra. Contestants could also meet and hear professional clarinetists perform, visit vendor displays and participate in a clarinet choir.

 In its inaugural year, the event involved 36 contestants who were divided into groups based on age: 11 and under; 12-14; 15-17; and ages 18-21. While clarinet students world-wide could participate, this year all were from Poland. The judges, however were from around the world, including: Florent Héau (France), Ludmila Peterková (Czech Republic), Timothy Phillips (U.S.A.) and Nicolas Fargeix (France). The judges gave recitals in the evenings and these exposed the students to standards in the clarinet repertoire. One concert featured music by composers from each judge’s homeland; Fargeix played French repertoire; Peterková played Czech music; Phillips played American selections.

 Contestants prepared a piece for each round of the competition and most performances were done from memory. The first round involved a piece with piano accompaniment. Even this early in the event one could recognize the talent and dedication that even the youngest had put forth in preparation. On the third day of the event, those remaining in the competition performed a solo with the Concerto Avenna Orchestra. Afterwards, winners were determined and would be featured one more time in the final concert on the following day.

 The winners were as follows:

Group 1 (ages 11 and under)

1st prize           Jan Tomaszuk           

2nd prize          Maurycy Hartman

3rd prize           Szymon Emil Parulski

“Great Potential Award”       Dariusz Patrykus

 Group 2 (ages 12 to 14)

1st prize           Karolina Bober

                                    Szymon Murawski     (two equal 1st prizes)

2nd prize          Damian Skibniewski

3rd prize           no prize awarded

 Group 3 (ages 15 to 17)

1st prize           Andrzej Ciepliński

2nd prize          no prize awarded       

3rd prize           Gustaw Bachorz

                                    Bartłomiej Dobrowolski         (two equal 3rd prizes)

 Group 4 (ages 18 to 21)

1st prize           no prize awarded

2nd prize          Julian Paprocki

3rd prize           Renata Raczyło          (first third prize)

                                    Jacek Dziołak                        (second third prize)

The Special Prize and opportunity to perform as soloist with the Luthuanian National Orchestra went to Andrzej Ciepliński.


20 May 2010

Jon Manasse on tour Performing Premiere of Lowell Liebermann Clarinet Concerto

Chico, California and Roanoke, Virginia USA

                During this month, several performances of a recent Concerto was performed by notable Soloist Jon Manasse, who is Solo Clarinetist in the New York City Ballet Orchestra at Lincoln Center and the Mostly Mozart Orchestra.  He also is faculty at Juilliard and the Eastman School of Music.  As the below reviews indicate, Mr Manasse's Solo capabilities are remarkable and is becoming in great demand as Soloist and teacher.  Several recordings are being released that showcase his work.

World-class debut

A West Coast premiere and visiting soloist are highlights of symphony’s season finale

By Christine G.K. LaPado

This article was published on 05.20.10.

Clarinetist Jon Manasse rehearses with North State Symphony a few hours before their Laxson concert.


“He’s the best,” offered Kyle Wiley Pickett, conductor of the North State Symphony, during a recent phone interview. Pickett was speaking of classical clarinetist Jon Manasse, several days before Manasse was to make a special appearance with the symphony on May 15, in Chico State’s Laxson Auditorium.

“I’ve never heard a clarinet player who can do everything he can. I mean, Richard Stoltzman, he’s the most famous—but Jon’s the best.”

Pickett didn’t need to convince me. I have known about Manasse, a 40-something, clarinet-playing whiz-kid-turned-superstar, for at least a decade. Manasse was the youngest winner of the International Clarinet Society Competition; is a graduate of Juilliard, where he now teaches; and is currently principal clarinetist for New York City’s American Ballet Orchestra and the Orchestra of St. Luke’s. So it was a big thrill to find out he was coming to Chico to be the featured soloist for the West Coast premiere of prominent contemporary composer Lowell Liebermann’s new Clarinet Concerto. For Pickett, it was a real coup.

Pickett, who also conducts the Juneau (Alaska) Symphony, explained it this way: “As it turns out, I share an agent with Jon Manasse. And so does Lowell Liebermann. … Our agent said, ‘I think it would be really great if Lowell Liebermann would write a concerto for Jon Manasse.’”

Clarinet Concerto had its world premiere by the Dayton (Ohio) Philharmonic Orchestra in November 2009. It was just a matter of time before Pickett had the opportunity to conduct the piece, first in Juneau in January, and then this past Saturday night, as part of the NSS’s last concert of the season—a concert titled The Bold and the Beautiful, featuring the Liebermann piece-in-three-movements book-ended by Haydn’s “Lo Speziale Overture” and Dvorák’s Symphony No. 8.

The Haydn overture—a fairly short work with an A-B-A form—opened with the double-bass section’s commanding, bowed runs complemented by the sweetness of the violins. The slow, stately-yet-gentle B-section, underpinned with more arco bass, led to the liveliness of the third section, which showcased the quickness and agility of the violinists.

After the Haydn, Manasse appeared on stage—dressed handsomely in a black, long-sleeved shirt and black trousers—and situated himself front and center.

After an introduction featuring bells and high woodwinds (but no orchestral clarinets), Manasse put his horn to his mouth and began on a low note that sounded the way warm butter and maple syrup taste on homemade pancakes, and played a run that went up high on the instrument.

“Very pretty, relaxed,” I wrote in my notes early in the first movement. “Evokes a feeling of wonder, beauty, a sunrise, morning.”

The concerto, as it turned out, was the perfect showcase for Manasse’s stunning talent on the clarinet. (Liebermann and Manasse attended Juilliard together—there’s a lot to be said for having someone who knows you write a concerto for you.)

Manasse had the opportunity, throughout the course of performing the highly accessible, yet refreshingly new-sounding piece, to show his superior skill at playing runs and arpeggios up and down his instrument, as well as his ability to coax amazing beauty from slower passages. He can hop around the instrument, tonguing and slurring notes high-to-low and the reverse, with such facility it’s almost unbelievable. Manasse’s tone is exceedingly gorgeous (I do not exaggerate), and his ability to re-enter the piece after a break is notable for the way it’s not noticeable—until you realize he’s playing again. A master of subtlety, you could say.

And he’s so nice to watch—his body language shows that he clearly is moved by the music.

I don’t mean to give short shrift to famous Czechoslovakian composer Antonin Dvorak; he is, as my brother might say, “no joke.” And the symphony’s performance after the intermission of his Symphony No. 8 was wonderful.

But Manasse-playing-Liebermann stole the show, in my opinion. Like Pickett had told me, “For the North State Symphony to get to do the West Coast premiere, it’s really cool. This should really go to an L.A. or San Francisco symphony. It’s that caliber—world-class.”


Roanoke Symphony Orchestra review: Clarinet piece was rare jewel

Monday's program was already strong, but a new concerto was a show-stopper.

There was plenty to like in Monday night's Roanoke Symphony Orchestra concert at the Roanoke Performing Arts Theatre.

But the Virginia premiere of Lowell Liebermann's magnificent new clarinet concerto outshone everything else.

When it came to superlatives, soloist Jon Manasse's splendid performance pretty much sucked all the oxygen out of the room, leaving little to say about the Gershwin, Dvorak and Mozart works, any of which on another night might have been the centerpiece of a program.

Yes, Maestro David Stewart Wiley presided over finely calibrated crescendi in the overture to Mozart's opera "The Marriage of Figaro." The Dvorak Symphony No. 8 in G Major was artfully shaped and soulfully played. And George Gershwin's little "Lullaby for Strings" was as likeable as ever.

But when the Concerto for Clarinet and Orchestra, Op. 110, by American composer Liebermann cruised to a breathless finish and the standing ovation and shouts of bravo were echoing through the hall, it seemed clear that we had heard a piece that will remain in the repertoire for decades to come.

But it will always take a player of Manasse's caliber to do justice to Liebermann's work. The occasional gifted amateur may strike out into the deep waters of the Mozart clarinet concerto. But no amateur can handle the Liebermann piece. This bravura work requires not merely a professional player, but a virtuoso.

It is lyrically gorgeous, full of ravishing tunes from the opening whole-tone scales to the perpetual motion finale. The orchestra is called upon to provide a wash of ethereal textures with high bells and delicate woodwind effects.

It's difficult to pick out peak moments. But the entire middle slow movement, with its sinuous, long-breathed melodies that take unexpected chromatic turns, was breathtaking. Manasse's technical mastery was obvious enough in the rapid passage work. But the pianissimo passages in the instrument's very highest tessitura, with intonation that was dead-on perfect, were extraordinarily lovely. Manasse deserved every bit of adulation he got at the end of this piece.

As a final gift to the audience, the RSO performed the Brahms Hungarian Dance No. 5 to yet more shouts of approval.


Cleveland Orchestra Assistant Conductor Titus Minoz and Soloist Franklin Cohen

15 May 2010

World Premiere of Chamber Orchestra version of Osvaldo Golijov 'The Dreams and Prayers of Isaac the Blind' performed by Franklin Cohen and the Cleveland Orchestra at Severence Hall and conducted by Tito Munoz 13 and 15 May 2010

Cleveland, Ohio USA

          As part of their regular Orchestra subscription series, this program was innovative and connected with two works focused on dreams and visions, the Berlioz Symphony Fantastique, and the world premiere of Osvaldo Golijov's 'The Dreams and Prayers of Isaac the Blind' Orchestral version of the Clarinet Quintet, performed by renowned Solo Clarinetist Franklin Cohen.  This work includes a history of Judeism within the themes of the various movements.  Program notes about this work are above which fully describes everything.  Within this piece, klezmer is noted as well as the use of A, Bb, and Bass Clarinet, remarkably performed.  This work grows on one who hears it with all the impressions contained within.  Originally this piece was written for Clarinet(s) and Strings, and a recording was available to those who wanted one. This new work will surely stick as a favorite in the Clarinet repertoire.


7 May 2010

Stanley Hasty 90th Birthday Celebration held in his honor by Former Students and the Eastman School of Music held 7 May 2010 in Rochester, New York

Rochester, New York USA

               A stellar gathering of former students from the Eastman School of Music, from all over the United States, came to honor the 90th Birthday of their principal teacher and mentor D Stanley Hasty, a teaching legend at this great school and one of the most important pedagogical influences of the last century, along with Robert Marcellus of the Cleveland Orchestra, and Leon Russianoff in New York.  Credentials and success stories in securing major Orchestral positions all over the United States and abroad and teaching positions at major Universities are attributed to Mr Hasty's teaching concepts, his own experience as a major Principal Clarinetist in several 1st line Orchestras here in the States, and his position as Solo Clarinetist in the Rochester Philharmonic, where many Eastman students gained valuable experience in working with him in that Orchestra.  There was a special Dinner in his honor with former students of note giving testimonials about their experience with him from notables as Larry Combs from the Chicago Symphony, Elsa Ludewig-Verdehr from Michigan State University and Director of her Verdehr Trio, Michael Webster from Rice University, Kenneth Grant, present Professor at Eastman, David Etheridge, Professor at Oklahoma University, and several others.  The event was organized by Ray Ricker, Saxophone Professor and Director of Jazz Studies, Elsa Verdehr, and the Eastman Alumni Office.  An honor event like this surely was emotionally packed for all, especially Mr Hasty who will forever be esteemed by not only those who came here, but by their students who will be the 2nd and 3rd generation recipients of his teaching legacy.    What is so important here is the history being made with living legends and being a part of it along with the reunion element.   This event surely will never be forgotten.

3 May 2010

Stanley Drucker, New York Philharmonic Solo Clarinetist Emeritus, Conferred with Honorary Doctorate in Music from the University of Florida in Gainesville presented at two Commencements, one from the School for the Arts, and at the University Graduate School Commencement on 1 May 2010

Gainesville, Florida USA

            An historic, emotional, and proud moment in Music History, especially the Clarinet world took place on this great campus of the University of Florida with the Conferring of an Honorary Doctorate to probably the most renowned Clarinetist of the last century Stanley Drucker, who retired with incredible honors last October from his position as Solo Clarinetist in the New York Philharmonic after 61 years, 49 of them as Solo Clarinetist. The VIP Page about Dr Drucker is well documented with his accomplishments.  The process leading to this Honorary is based on exhaustive review by the University Board of Governors and the Board of Trustees, and sent to the University President for final approval for Conferring.  What is remarkable here is the overwhelming credential Mr Drucker has brought to the Clarinet field, as performer, teacher, author, recording artist, and the worldwide influence of his unlimited talent and its impact on all players, teachers, and students worldwide.   No one in music history has accomplished such a level of consistent quality in the Clarinet performance area, and even more noteworthy is that Mr Drucker has raised the bar of performance over 3 decades with performances and recordings of major Clarinet works such as the Bartok Contrasts, Debussy Rhapsody, Nielsen Clarinet Concerto (in one recording take), Corigliano Clarinet Concerto (written for him, Bernstein, and the New York Philharmonic), the last 3 works conducted by Bernstein.  Recording of the Corigliano conducted by Zubin Mehta.

           Two Commencements were held (30 April) with the University College of Fine Arts, and held on (1 May) with the University Graduate School before a 1900 Graduating Class, The 1st Commencement was held with the Graduating students in the Arts and Music, with Dean Dr Lucinda Lavelli.  Professor Mitchell Estrin led the UFL Clarinet Ensemble in music leading to the Procession of Graduates, and gave an Introduction and Testimony about Mr Drucker and Mr Drucker spoke to the Class.   A Doctoral award plaque was presented to him by Dean Lavelli with a standing ovation honoring his contribution to music and the joy and passion of it.   The Clarinet Ensemble performed a work also honoring Mr Drucker.

             On 1 May, the Graduate Commencement was held before over 5000 attendees including the Graduate Class of 2010 of 1900 students to be given their degrees.  Mr Drucker received his Conferred Honorary Doctorate presented by President of the University of Florida Dr J Bernard Machen and the Provost.

             In addition to the Conferring of degree,  Dr Drucker conducted a 2 hour Master Class that same afternoon for University students as part of his residency.  Four advanced students were  intensively coached on prepared music and Orchestral excerpts.  The following two days were focused on rehearsals and recording sessions on an upcoming CD performed by the University of Florida Wind Symphony including Drucker as soloist in the Weber Concertino Op 26,  Harmonie Wind version, and the Scott McAllister Black Dog.


             Like the final Concerto Drucker played with the New York Philharmonic last June (Copland Clarinet Concerto), this past 4 days has been a high point of the year for everyone who came and was involved.  Professor Estrin, a longtime Orchestral colleague in the NY Phil with Dr Drucker and a former Juilliard student and a lineage teacher of his concepts, places Dr Drucker as a part of the University musical life.  This week was an historic event for this School of Music.


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Revised: August 01, 2010