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PRIORITY CLARINET AND MUSIC EVENTS
November 2017 Hot News
27 - 30 November 2017
4th Lisbon International Clarinet Competition
Lisbon, Portugal
27 November 2017
Guy Dangain Master Class at Vandoren Paris
Paris, France
26 - 27 November 2017
15th Concours for Clarinet in Picardie
Amiens, France
23 - 27 November 2017
9th Anton Eberst Clarinet Competition
24 November 2017
World Premiere of Clarinet concerto of Eric Tanguy with Soloist Pierre Genisson and the Liège Philharmonic Orchestra
Liege, France
20 - 24 November 2017
Internationally Renowned Soloist Martin Frost performs Mozart Clarinet Concerto with the Montreal Symphony and gives Master Classes with an Ensemble Competition
Montreal, Quebec
1 - 20 November 2017
Senior VIP Stanley Drucker on French Tour with Buffet Crampon and Vandoren
Paris, France
New York Philharmonic 'Listening through Time' Podcast featuring Stanley Drucker
http://archives.nyphil.org/index.php/podcast
18 November 2017
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Furman University Single Reed Day - Dr Cecilia Kang, Director
Spartansburg, South Carolina USA
19 November 2017
31st ClarinetFestival - Japan Clarinet Association
Fukui, Japan
18 November 2017
VIP Anthony McGill - Solo Clarinetist in the New York Philharmonic) Master Class at the University of Michigan at
Ann Arbor, Michigan USA
19 November 2017
Wright State University Reeds Day - VIP John Kurokawa, Director
Dayton, Ohio USA
17 November 2017
VIP Wenzel Fuchs (Solo Klarinettist in the Berliner Philharmoniker) Master Class at Michels Music while the Orchestra is on tour
Korea and Japan
17 November 2017
Master class by Michael Rusinek at the Peabody Conservatory - special guests in the audience, the superb clarinet section of the Baltimore Symphony Orchestra (including Alex Bedenko) with Alexander Bedenko and Yao Guang Zhai
Baltimore, Maryland USA
14 November 2017
Buffet Crampon 50th Year Celebration in Japan with World-Class Artists
Tokyo, Japan
10 November 2017
VIP Charles Neidich Chamber Concert 'Emotion and Intellect' at Tenri Cultural Institute
New York City USA
Charles Neidich displayed several facets of his immense talent on Friday night during one of his well-curated “Wa” concerts. “Wa” is a word that means “circle” or “harmony, completeness,” and these values were abundantly in evidence, from the intelligent programming of works by Robert Schumann and Max Reger, to the divine performance, the genial verbal introductions and context-setting, and the pre- and post-concert feast and wine by his wife Ayako Oshima (also a fine clarinetist). The intimate setting of the Tenri Institute was perfect for this event.
Interestingly, all the Schumann pieces were transcriptions, since he didn’t really create for clarinet and piano duo. Mr. Neidich and his superb collaborator Mariko Fukuwara opened with Fünf Stücke im Volkston, Op. 102 (Five Pieces in Folk-style), originally for cello. They imbued the set with all the verve it requires and were seamlessly coordinated in every nuance.
Then followed the huge clarinet and piano sonata by Max Reger, Op. 49, No. 1. When one hears Mr. Neidich, one really doesn’t think about the instrument, only the music, so unified is he with the clarinet that it is never an issue. I can’t imagine a better performance than this one of this complicated piece, every whisper and yearning was conveyed with utter sensitivity, from both players. Again, Ms. Fukuwara handled the difficult piano part with complete transparency, no easy feat in this repertoire.
After intermission, they lightened the tone a bit by sampling two of Reger’s shorter works, the delightful Tarantella (WoO II/12) and Albumblatt (WoO II/13). This is a distinctly German interpretation of the tarantella from Reger, indeed, no one is going to dance out their spider venom with this one, but it is lovely nevertheless.
Then after some pointed introduction, Mr. Neidich and Ms. Furukawa performed a virtually unknown Schumann sonata (Op. posth. WoO 2) that was originally composed for violin, re-using the two movements Schumann had contributed to the joint F.A.E.- Frei aber einsam (“free but lonely”) sonata, adding two prior movements of his own, very late in his life. As Mr. Neidich poignantly reminded us, Clara Schumann was such a zealous guarder of her husband’s legacy and reputation that she burned the work, thinking it beneath Schumann, though she did perform it a few times with Joseph Joachim. A sketchy manuscript copy of those first two movements was located recently in a library, hence it does survive. It has all the Schumann characteristics, the way he “behaves” in A Minor, one of his favorite tonalities. The fourth movement is a veritable hell-hole of difficulty, stemming from its violinistic figurations—this inspired Mr. Neidich’s most overtly virtuosic playing of the evening, and earned him well-deserved uproarious applause.
For an encore, the pair reached into another obscure Schumann corner: the Abendlied, Op. 85 No. 12, originally for piano four-hands. It was a lovely way to end a rare and valuable evening.
9 November 2017
During the Berliner Philharmoniker Tour at Hong Kong, Master Class with Orchestra Principals and Players held at the Hong Kong Academy of Performing Arts with VIP Andreas Ottensamer - Andrew Simon, Host
7 November 2017
Stoltzman Sounds Concert featuring Mika and Richard Stoltzman at Zankel Hall at Carnegie Hall
New York City USA
7 November 2017
Review: Celebrating 40 Years of Championing American
Composers with Clarinet Soloist Derek Bermel and the American Composers
Orchestra at the Rose Concert Hall at Lincoln Center
By
ANTHONY TOMMASININOV
In a 1977 talk, Aaron Copland complained that concerts by
America’s orchestras were still frustratingly dominated by the “great works of
the past.” No American composer was suggesting that these great old works should
not be played, Copland explained. “All we want to do is get in on it!” he said.
Copland addressed those comments that year to an audience at Alice Tully Hall
before the inaugural concert of the
American Composers Orchestra.
On Tuesday night at Jazz at Lincoln Center’s Frederick P. Rose Hall, a recording
of Copland’s remarks was played before the American Composer Orchestra’s 40th
Birthday Concert. The gist of his argument, alas, still applies today. The
programs of American orchestras have remained overwhelmingly tilted toward works
of the past, mostly the distant past.
Yes, much has changed for the better. In a program note, the directors of the
American Composers Orchestra (A.C.O.) take pride that this essential ensemble
has helped define “what it means to be American in 2017,” embracing gender,
ethnic, national and stylistic diversity. Tuesday’s varied program offered
exhilarating evidence.
Next year’s 100th birthday of
Leonard Bernstein, who died in 1990, was
acknowledged with a performance of his Clarinet Sonata (1941-42), the composer’s
first published work, which he wrote in his early 20s. It was performed in a
1994 orchestration by Sid Ramin, scored for clarinet, strings and percussion.
The excellent clarinetist
Derek Bermel
brought warm colorings and moody reflectiveness to the solo part, while subtly
drawing out all the jazzy touches.
VIP Anneliene van Wauwe Soloist in performance of Magnus Lindberg's Clarinet Concerto with the Aachen (Germany) Sinfonieorchester - Justus Thorau, Conductor
Aachen (Germany)
Review in German
Und offenbar ist dieses Stück Musik, das mit den Mitteln der Avantgarde eine Welt von Klängen erschafft, die weder abschrecken noch sich populistisch anbiedern und für den Umgang mit der Moderne stehen, gerade nach dem Geschmack Thoraus. Lindberg, dessen Lehrzeit beim großen Rautavaara sich gerade in der Ernsthaftigkeit seiner Komposition spiegelt, fordert nicht nur die Sinfoniker. Besonders beim zeitgenössischen Teil des Programms, dem halbstündigen Klarinettenkonzert des Finnen Magnus Lindberg, mit untadeliger Schlagtechnik und klarem Gespür für den Moment. Und offenbar ist dieses Stück Musik, das mit den Mitteln mit den Mitteln der Avantgarde eine Welt von Klängen erschafft, die weder abschrecken noch sich populistisch anbiedern und für den Umgang mit der Moderne stehen, gerade nach dem Geschmack Thoraus. Lindberg, dessen Lehrzeit beim großen Rautavaara sich gerade in der Ernsthaftigkeit seiner Komposition spiegelt, fordert nicht nur die Sinfoniker. Besonders die Solistin muss bis an die Grenzen ihrer Leistungsfähigkeit vordringen. Und Thorau gebietet souverän über diese komplexe Gemengelage. Thoraus. Lindberg, dessen Lehrzeit beim großen Rautavaara sich gerade in der Ernsthaftigkeit seiner Komposition spiegelt, fordert nicht nur die Sinfoniker. Besonders die Solistin muss bis an die Grenzen ihrer Leistungsfähigkeit vordringen. Und Thorau gebietet souverän über diese komplexe Gemengelage.
Die belgische Klarinettistin Annelien Van Wauwe besitzt ein Ausnahmetalent. Sie ist auch gerade erst 30 und seit dem Gewinn des ARD-Musikwettbewerbs 2012 auf dem Sprung in den Klassik-Himmel. Betörend und glänzend schmeichelt ihr Ton dem Ohr, kraftvoll, ungemein fingerfertig, hochmusikalisch beackert sie den nahezu pausenlosen Solopart. Immer wieder muss sie die Grifflöcher freiblasen, vor dem Beginn des langsamen Satzes hat sie vielleicht 15 Sekunden Zeit, das geschundene Rohrblatt gegen ein leichter anspringendes zu wechseln. Immer wieder muss sie die hohe körperliche Anstrengung aus ihren Schultern schütteln.
Als Lohn dieses Kraftaktes schenkt sie dem Publikum Einblick in einen Kosmos, der Licht und Schatten der nordischen Seele, wenn es denn so etwas gibt, offenbart. Reichlich Applaus erwidert ihren und der Sinfoniker Enthusiasmus.
Bei allem Zugeneigtsein für ungewohnte Hörerlebnisse trübt dennoch Thoraus Liebe für den vollen Orchesterklang den Gesamteindruck etwas. Annelien Van Wauwe ist bisweilen kaum zu hören im Blech- und Schlagwerk-Getöse. Das Fragile der Partitur kommt bisweilen arg kurz. Der satte Dur-Akkord am Schluss allerdings braucht gerade den Zucker, den Thorau ihm beigibt. Hübsch und passend gesellen sich zu Lindbergs neuen Tönen Mendelssohns Hebriden-Ouvertüre und Sibelius’ 5. Sinfonie hinzu. Diese beiden weiteren „Nordlichter“ stehen am Beginn und am Ende der Romantik. Mendelssohns Naturlandschaften geraten Thorau etwas eckig, einige Rauheiten beschleichen die höhere Blech-Sektion.
Hier wie bei Sibelius wählt der sympathische Orchesterleiter häufig große, weit ausholende Gesten, um der Emotion Gestalt zu verleihen. Das ist wenig förderlich fürs Zusammenspiel, das aber auf sicherem Fundament gründet. Nach den fulminanten, beinahe empörten Schlussakkorden der 5. Sinfonie gibt’s dann noch eine süffige Zugabe – Sibelius’ „Valse triste“. Das ist zum Dahinschmelzen
5 November 2017
Barcelona Clarinet Players World Premiere Kelanit for Clarinet Quartet and Band
Bilbao, Spain
3 - 4 November 2017
Navy Band Clarinet Day - VIP Laura Grantier, Director, with VIP Richie Hawley and Eugene Mondie
Washington DC USA
3 November 2017
VIP Anthony McGill Soloist with the New York Philharmonic performing Bernstein's Prelude, Fugue and Riffs on a 100th Birth Anniversary of Bernstein's birth, Alan Gilbert, Conductor
New York City USA
The Philharmonic Bernstein festival continues with Prelude, Fugue, and
Riffs, a flashy score that features our Principal Clarinet Anthony McGill.
Jazz pianist Makoto Ozone (“Thrilling, virtuosic” — The New York Times)
is the soloist in Gershwin’s all-American favorite Rhapsody in Blue —
infectiously melodic, bluesy, romantic at heart — and the composer’s voice in
Bernstein’s The Age of Anxiety.
About the Clarinet Soloist:
Anthony McGill joined the New York Philharmonic as Principal Clarinet, The Edna
and W. Van Alan Clark Chair, in September 2014. Previously principal clarinet of
The Metropolitan Opera Orchestra beginning in 2004, he is recognized as one of
the classical music world’s finest solo, chamber, and orchestral musicians. He
has appeared as soloist at Carnegie Hall with many orchestras, including the MET
Orchestra, American Symphony Orchestra, and New York String Orchestra. He has
also recently performed with the Baltimore, New Jersey, San Diego, and Memphis
symphony orchestras and Orchestra 2001. As a chamber musician Mr.
McGill has appeared throughout the United States, Europe, and Asia with quartets
including the Guarneri, Tokyo, Brentano, Pacifica, Shanghai, Miró, and Daedalus.
He has also appeared with Musicians from Marlboro and at The Chamber Music
Society of Lincoln Center, Philadelphia Chamber Music Society, and University of
Chicago Presents. His festival appearances have included Tanglewood, Marlboro,
Mainly Mozart, Music@Menlo, and Santa Fe Chamber Music. He has collaborated with
pianists Emanuel Ax, Yefim Bronfman, Mitsuko Uchida, and Lang Lang, as well as
violinists Gil Shaham and Midori. On January 20, 2009, he performed with Itzhak
Perlman, Yo-Yo Ma, and Gabriela Montero at the inauguration of President Barack
Obama. He has appeared on Performance Today, MPR’s Saint Paul
Sunday, and Mister Rogers’ Neighborhood. In 2013 with his brother
Demarre, he appeared on NBC Nightly News, the Steve Harvey Show,
and on MSNBC with Melissa Harris-Perry. In demand as a teacher, Anthony McGill
serves on the faculties of The Juilliard School, Peabody Institute of The Johns
Hopkins University, Bard College Conservatory of Music, and Manhattan School of
Music, and has given master classes throughout the United States, Europe, and
South Africa. In 2016 he was one of five leaders honored with a John Jay Justice
Award for being a “true champion of justice.”
3 November 2017
David Howard (Bass Clarinetist in the Los Angeles Philharmonic) Master Class at the Buffet New York Showroom
New York City USA
3 November 2017
Master Class with Ron Selka, Solo Clarinetist in the Israeli Philharmonic at the Peabody Conservatory - Alexander Fitelstein, Host
Baltimore, Maryland USA
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Revised: December 01, 2017