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Happy New Year from Stefan Harg of Stockholm with Early Period Clarinet
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NEWSLETTER - WINTER - JANUARY - MARCH 2008
As the New Year enters 2008, it is noteworthy to notice all the upcoming events and trends now making their mark on the music field. In the International arena, especially in Europe and in Germany, there are numerous activities that should interest players here and open their eyes to the booming arts atmosphere ever making their mark. Europe has long been known as an Arts prosperous area in the world, along with many areas in Asia, as Japan, Korea, and other areas, where the State governments support the performing arts to a multi-timed extent as compared to the United States, where all Performing Organizations are non-profit and need to constantly struggle and almost beg for funding to sustain, resulting in cultural deficiency which is well indicated by the lower education standards without a clue as to how to solve it. When Music Education programs are cut due to ignorant School Boards and Administrators, one may want to move to Europe where there is grass-roots cultural quality. As an example of proactive effort, below is an ensemble in Frankfurt, Germany engaging in an ensemble series of important literature that should interest players everywhere. Of interest there are prodigy discoveries which deserve to be noted, such as a 11 year old Korean clarinetist who should be an inspiration to all young players. Name is
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We invite you to discover this incredible young clarinettist from Korea, who is only 11 years old...
Mate Bekavac - Slovenia
About
the Academy
Audition Procedure
Application
Procedure
Student Application
Auditor Application
Curriculum
Tuition and
Scholarships
Artist Faculty
Academy
Administration
Housing and
Transportation
University of North
Florida
For any questions or
more information on
the 2008 Summer
Clarinet Academy,
please contact Mary
Marshall at
mary.marshall@buffetcrampon.fr
or 866.434.9240.
Im neuen
Jahr startet das MUTARE ENSEMBLE seine neue Reihe mit zunächst drei
aufeinander bezogenen Konzerten:
13. Januar - 24. Februar - 18. Mai.
Die Veranstaltungen finden jeweils sonntags um 17.00 Uhr im Finkenhof
(Finkenhofstr. 17) statt.
Eintrittspreis: 15,- Euro - ermäßigt 10,- Euro
Kinder und Jugendliche (bis 18 Jahre) Eintritt frei
Es ist unsere Idee, in der neuen Reihe jeweils mehrere Konzerte unter einem
besonderen Aspekt miteinander in Beziehung zu setzen. Gemeinsam mit unserem
Publikum möchten wir dabei verschiedenste Perspektiven auf die Musik
einnehmen und diese immer wieder neu beleuchten.
Inhaltlich sind die ersten drei Konzerte zunächst über die Kammermusik Nr. 1
für 12 Soloinstrumente von Paul Hindemith verknüpft. Dieses Werk wird in
jedem der drei Konzerte zu hören sein - beleuchtet jeweils von einem ganz
unterschiedlichen Beiprogramm. Hindemiths Kammermusik kann als eines der
Werke gelten, die den neuen Typus des Kammerensembles definieren, der für
das 20. Jahrhundert zum zentralen Klangkörper werden sollte. In der
Kombination von Holz- und Blechbläsern mit solistischen Streichern, zu denen
Hindemith Klavier, Harmonium (bzw. Akkordeon) und Schlagzeug hinzufügt, geht
er weiter als etwa Schönberg, der in seiner Kammersinfonie lediglich Bläser
und Streicher kombiniert.
Die Konzeption des MUTARE ENSEMBLE mit seiner variablen Besetzung ist die
Konsequenz der, u.a. von Hindemith angestoßenen Entwicklung. Es entsteht
hier nicht nur ein neuartiger Klangkörper zwischen Orchester und
Kammermusik - es entstehen zugleich neue Formen des Musizierens, der
musikalischen Interaktion und es werden Rollen wie die des Dirigenten neu
definiert.
Hindemiths Kammermusik bildet gleichsam den Kristallisationspunkt der drei
Konzerte zu dem alle weiteren Werke in Beziehung treten.
Im ersten Konzert werden Werke zu hören sein, die in zeitlicher Nähe
entstanden sind und auf unterschiedliche Weise ebenfalls die Idee des
Kammerensembles thematisieren.
Im zweiten Konzert werden Werke präsentiert, die im weiteren Verlauf des 20.
Jahrhunderts das Konzept des Kammerensembles weiterdenken.
Im dritten Konzert schließlich trifft Hindemiths Kammermusik mit Werken
zusammen, die bereits im 19. Jahrhundert mit der Möglichkeit des
Ensemble-Musizierens experimentieren.
In den Veranstaltungen unserer neuen Reihe wünschen wir uns eine Situation,
die Ausführende und Hörer als eine Einheit begreift und in der es um
gemeinsame Erfahrungen geht. Wir wünschen uns einen Dialog in dem jeder
Beteiligte Fragen stellen und Antworten geben kann. Wir wünschen uns einen
lebendigen Austausch und würden uns freuen, wenn unsere Hörer ebenso viel
Neugierde mitbringen, wie wir sie in uns empfinden!
G.M.-H.
MUTARE im Finkenhof
(Finkenhofstr. 17)
1. Konzert
13. Januar 2008 - 17.00 Uhr
Programm:
Igor Strawinsky
1882 - 1971
Suite aus "Histoire du Soldat" (1917/18)
für Klarinette, Fagott, Trompete, Posaune, Violine, Kontrabaß und Schlagzeug
Ferrucio Busoni
1866 - 1924
"Berceuse élégiaque", op. 42 (1909)
f. 9 Instrumente gesetzt von Erwin Stein
für Flöte, Klarinette, Harmonium, Klavier, 2 Violinen, Viola, Violoncello
und Kontrabaß
Serge Prokofieff
1891 - 1953
"Quintett", op. 39 (1924)
für Oboe, Klarinette, Violine, Viola und Kontrabaß
Paul Hindemith
1895 - 1963
"Kammermusik Nr. 1 mit Finale", op. 24 Nr. 1 (1921)
für 12 Solo-Instrumente (Flöte, Klarinette, Fagott, Trompete, Klavier,
Schlagzeug, Akkordeon, 2 Violinen, Viola, Violoncello, Kontrabaß)
2. Konzert
24. Februar 2008 - 17.00 Uhr
Nicolaus A. Huber
*1939
"6 Bagatellen" (1981)
für Flöte, Oboe, Klarinette, Fagott, Harfe, Violine, Viola, Violoncello,
Kontrabaß und Schlagzeug
Gerhard Müller-Hornbach
*1951
"Passacaglia" (1981)
für 13 Instrumente (Flöte, Oboe, Baßklarinette, Fagott, Horn, Trompete, 2
Posaunen,
2 Violinen, Viola, Violoncello, Kontrabaß)
György Ligeti
(*1923)
"Konzert für Violoncello und Orchester" (1966)
für Solo-Cello und Kammerorchester (Flöte/Piccolo, Oboe/Englischhorn,
Klarinette, Baßklarinette, Fagott, Horn, Trompete, Posaune, Harfe, 2
Violinen, Viola, Violoncello und Kontrabaß)
Paul Hindemith
1895 - 1963
"Kammermusik Nr. 1 mit Finale", op. 24 Nr. 1 (1921)
für 12 Solo-Instrumente (Flöte, Klarinette, Fagott, Trompete, Klavier,
Schlagzeug, Akkordeon, 2 Violinen, Viola, Violoncello, Kontrabaß)
3. Konzert
18. Mai 2008 - 17.00 Uhr
Richard Wagner
1813 - 1883
"Siegfried-Idyll" (1870)
für kleines Orchester
(Flöte, Oboe, 2 Klarinetten, Fagott, 2 Hörner, 2 Violinen, Viola,
Violoncello, Kontrabaß)
Gustav Mahler
1860 - 1911
"Kindertotenlieder" (1901-04)
nach Texten von Friedrich Rückert
für Singstimme und Kammerensemble bearbeitet von Gerhard Müller-Hornbach
(Flöte, Oboe, Klarinette, Fagott, Horn, Harmonium, Klavier, Schlagzeug, 2
Violinen, Viola, Violoncello, Kontrabaß)
Johannes Brahms
1833 - 1897
"Serenade Nr. 1", op. 11 (1858), -Rekonstruktion-
Nonett für Flöte, 2 Klarinetten, Fagott, Horn, Violine, Viola, Violoncello
und Kontrabaß
Paul Hindemith
1895 - 1963
"Kammermusik Nr. 1 mit Finale", op. 24 Nr. 1 (1921)
für 12 Solo-Instrumente (Flöte, Klarinette, Fagott, Trompete, Klavier,
Schlagzeug, Akkordeon, 2 Violinen, Viola, Violoncello, Kontrabaß)

Gustav Mahler is as a composer second to none, but also his song cycles are
irreplaceable elements of the music of the 20th century, outstanding and
trendsetting. The attempt to transfer the musical substance to smaller ensembles
initially followed practical considerations. The aim was to perform orchestral
works in concerts by “the Club of musical private performances “, with the aim
of solely funding smaller ensembles, rather than a full orchestra. The
flexibility and diversity of the chamber ensemble, however, inevitably led to
the chamber ensemble becoming the central body of sound. It thus proved correct
to risk “this new classical adventure “anew and to add further song cycles
through Schönberg and the arrangements of the “songs of the travelling
Journeyman”. Gerhard Müller-Hornbach dared this “adventure” with the “children´s
death songs” and “five supporting songs “. He finds like Schönberg a very
specific view of Mahler´s music without pushing himself as arranger to the
forefront of the music. The intimacy of the song components, which repeatedly
demands a chamber musically flexible interaction between the instrumentalist and
the singer, which he achieves in an ideal way. A “new “ Mahler, exciting to
discover, but well penetrated by a specific expression of Mahler music.

Clarinetist Michael Norsworthy Performs at Special Boston Modern Orchestra Project Concert on January 25 at New England Conservatory in Boston
January 22, 2008
For Immediate Release
Press Contact: Jeffrey James Arts Consulting
516-586-3433 or jamesarts@worldnet.att.net
Clarinetist Michael Norsworthy will be guest artist at a special concert
celebrating Boston Modern Orchestra Project’s 10th season at New England
Conservatory. The concert will be given on Friday, January 25 – 8 PM at
Jordan Hall at New England Conservatory, 30 Gainsborough St., at
Huntington Ave. in Boston, Massachusetts.
Works to be presented include the World Premieres of Osnat Netzer’s
Common Ground (2007) and Ezra Sims’ Concert Piece II (2005), William
Bolcom’s Violin Concerto in D (1983), Michael Gandolfi’s Concerto for
Bassoon and Orchestra (2007) and Leon Kirchner’s Toccata (1955). In
addition to Mr. Norsworthy, other guest artists will be Amy Advocat,
clarinet, Byron Hitchcock, violin and Richard Svoboda, bassoon.
To purchase tickets for the January 25 concert, call 617-363-0396 or
visit
http://www.bmop.org/buy_tickets.aspx.
In 1996, Gil Rose set out to restore a widening disconnect between
contemporary audiences and contemporary music - a relatively recent
trend in the rich history of orchestras. The result was the Boston
Modern Orchestra Project and a new orchestral model. Eleven years later,
BMOP remains dedicated to its mission and is considered by many to be
the leading orchestra for commissioning, performing, and recording
modern orchestral music. Fro more about them, visit www.bmop.org
A dedicated and persuasive champion of the music of our own time,
Michael Norsworthy has given premieres of over 80 works in collaboration
with composers Harrison Birtwistle, Elliott Carter, Chris Dench, Pozzi
Escot, Brian Ferneyhough, Michael Finnissy, Lukas Foss, Hans Werner
Henze, Magnus Lindberg, Ralph Shapey and Marc Anthony Turnage, among
many others.
As soloist, Michael Norsworthy has performed an extensive repertoire of
concerti, ranging from Mozart to Ferneyhough, with the Aspen
Contemporary Ensemble, Callithumpian Consort, NEC Contemporary Ensemble,
Pottstown Symphony, Soria Chamber Players, Southern Illinois Symphony
and Symphony Pro Musica, while audiences have heard his numerous
recitals in Boston, Cambridge, Chicago and St. Louis. He has also
collaborated with Tony Arnold, Patrick Demenga, Stephen Drury, Aleck
Karis, John Zorn, the Borromeo String Quartet, Orpheus Chamber Orchestra
and the Boston Modern Orchestra Project. Conductors he has worked with
include Boulez, DePriest, Knussen, Levine, Muti, Robertson, Ozawa,
Tilson Thomas and many others. Michael Norsworthy plays on Buffet
Clarinets and mouthpieces by Kalmen Opperman.
For more information about clarinetist Michael Norsworthy, including a
bio, reviews and much more, please visit
http://www.michaelnorsworthy.com/. You can also contact Jeffrey James
Arts Consulting at 516-586-3433 or jamesarts@worldnet.att.net
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Post-concert Commentary:
click here (Requires Adobe Reader plug-in; download it here) |
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FEBRUARY 17, 2008 - 4 pm Divine Genius: The Music of Mozart All Mozart - All Glorious! John Bruce Yeh, Basset Clarinet Go to Tickets Page |
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WHAT
WERE THEY THINKING? |
MOZART: Symphony No. 10, K. 74 MOZART: MOZART: |
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WKA Winter Newsletter 2008 (January - March)
WKA Spring Newsletter 2008 (April - June)
WKA June - August (Summer) 2008 Newsletter
Clarinet Convention 2008
The 2008 Clarinet Convention at Royal Welsh College of Music and Drama in
Cardiff will be on Sunday 27th January 2008 and will be led by Les and Peter. We
hope to see lots of our old friends and new faces too.
Philippe Cuper the Principal clarinettist "super soliste"
of the Paris - Opera will be the guest artist and will give a recital and master
classes.
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The Clarinet Convention hosted by the Junior Department of the Royal Welsh College of Music and Drama has now become an institution in its own right, a real success story that has attracted no less than over 400 clarinettists to its door over the period it has been in existence. The convention led by Leslie with friend and colleague Peter Fielding has inspired many clarinettists over the years and the array of guest tutors becomes more illustrious year on year.
CSM Ross N. Morgan, Jr. Command Sergeant Major

Deadline for CD’s and application: Monday, February 11, 2008
Final Round: Monday, March 10, 2008 from 7-9 PM at Brucker Hall, Fort Myer
Performance with U.S. Army Orchestra: Sunday, May 4, 2008 at 4:00 PM at the Clarice Smith Performing Arts Center, University of Maryland
First place winner will appear as featured soloist with The U.S. Army Orchestra at the Clarice Smith Performing Arts Center, University of Maryland, on Sunday, MAY 4, 2008 at 4:00 PM (No tickets required).
All award winners, finalists and honorable mentions will be invited to join The U.S. Army Orchestra in one performance number on May 4, 2008.
Each contestant will receive a written evaluation of their competition entry.
The Young Artist Competition is open to Washington, DC-area high school string, woodwind, brass, and percussion instrumentalists in grades 9-12. (DC-area to include the District of Columbia, Prince Georges Co., Montgomery Co., Howard Co., Anne Arundel Co., Fairfax Co., Fairfax City, City of Falls Church, Prince William Co., Loudoun Co., Arlington Co., Alexandria City, and Baltimore County.) Applications may be accepted from students who do not live in these jurisdictions, but have a connection to them through either a musical organization or a private teacher.
PLEASE NOTE: Competition participants must be available to compete in the finals on Monday, March 10 and rehearse and perform with the U.S. Army Orchestra on the afternoon of Sunday, May 4, 2008. All students are eligible to receive a written evaluation of their competition entry regardless of availability.
Former U.S. Army Orchestra Competition first place winners or performers under professional management are not eligible to compete.
Master Sgt. Laura Knutson
laura.knutson@fmmc.army.mil
(703) 696-6043The U.S. Army Band “Pershing’s Own”
The U.S. Army Orchestra Young Artist Competition 2008
ATTN: Master Sgt. Laura Knutson
400 McNair Road
Fort Myer, VA 22211-1306Finalists and honorable mentions will be notified once evaluation of CD’s is completed.
Applicants are encouraged, but not required, to choose one (1) selection from the list below. Selections not on this list must be approved, to ensure availability of orchestral accompaniment parts, prior to submission of application and CD. Please direct questions about repertoire to laura.knutson@fmmc.army.mil.
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Event Information |
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| City: | Birmingham |
| Begin Date: | Saturday, March 1, 2008 |
| End Date: | Sunday, March 2, 2008 |
| Other Location: | UAB Mary Culp Hulsey Recital Hall, 950 13th St. S. |
| Registration is open to clarinetists of all ages. The weekend features recitals, rehearsals and master classes with clinicians as well as a final concert. All recitals and the concert are free and open to the public. For information or to register, contact retreat coordinator and UAB associate professor of clarinet Denise Gainey, D.M.A., at clarinet@uab.edu or call 205-975-0558. | |
| Hours: | Call for a schedule. |
| Contact Information | |
| Phone: | 205-934-7376 |
| Web Site: | http://www.music.uab.edu |
| Payment Information | |
| Admission: | Free |
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Clarinetist
Michael Norsworthy to Perform at Fromm Players Concerts
on
March 7 and 8 at Harvard University in Cambridge, Massachusetts
Clarinetist Michael Norsworthy will perform the music of David
Felder
and Pierre Boulez as part of the Fromm Players at Harvard: 60 years
of
Electronic Music Concerts on Friday, March 7 and Saturday, March 8 –
8
PM each evening at John Knowles Paine Concert Hall on the campus of
Harvard University in Cambridge, Massachusetts.
The March 7 program, which will feature Mr. Norsworthy’s performance
of
David Felder’s Coleccion Nocturna, will also include music by
Bresnick,
Reich, Feldman, Ferneyhough and Lachenmann. Two of the composers,
Brian
Ferneyhough and Helmut Lachenmann, are currently on the composition
faculty at Harvard.
The March 8 program, which will feature Mr. Norsworthy’s performance
of
Pierre Boulez’ Dialogue de l’ombre double, will also present music
of
Harvey, Davidovsky, Ussachevsky, Czernowin and Sims.
Other performers on these concerts will be Patti Monson, flute, Evan
Ziporyn, clarinet, Stephen Olsen, piano, Gabriela Diaz, violin,
David
Russell, cello, and Dinosaur Annex. Curated by German composer Hans
Tutschku, this year’s Fromm Festival will also employ the sound
diffusion of HYDRA, a system of multiple speakers arranged
throughout
the concert hall.
The March 7 and 8 concerts are free and open to the public. For more
information, visit
http://www.music.fas.harvard.edu/calendar.html#fromm
or call 617-496-6013.
A dedicated and persuasive champion of the music of our own time,
Michael Norsworthy has given premieres of over 80 works in
collaboration
with composers Harrison Birtwistle, Elliott Carter, Chris Dench,
Pozzi
Escot, Brian Ferneyhough, Michael Finnissy, Lukas Foss, Hans Werner
Henze, Magnus Lindberg, Ralph Shapey and Marc Anthony Turnage, among
many others.
As soloist, Michael Norsworthy has performed an extensive repertoire
of
concerti, ranging from Mozart to Ferneyhough, with the Aspen
Contemporary Ensemble, Callithumpian Consort, NEC Contemporary
Ensemble,
Pottstown Symphony, Soria Chamber Players, Southern Illinois
Symphony
and Symphony Pro Musica, while audiences have heard his numerous
recitals in Boston, Cambridge, Chicago and St. Louis. He has also
collaborated with Tony Arnold, Patrick Demenga, Stephen Drury, Aleck
Karis, John Zorn, the Borromeo String Quartet, Orpheus Chamber
Orchestra
and the Boston Modern Orchestra Project. Conductors he has worked
with
include Boulez, DePriest, Knussen, Levine, Muti, Robertson, Ozawa,
Tilson Thomas and many others. Michael Norsworthy plays on Buffet
Clarinets and mouthpieces by Kalmen Opperman.
For more information about clarinetist Michael Norsworthy, including
a
bio, reviews and much more, please visit
http://www.michaelnorsworthy.com/. You can also contact Jeffrey
James
Arts Consulting at 516-586-3433 or jamesarts@worldnet.att.net.
Second
Annual Northeast Clarinet Day - Saturday, 8 March 2008
Texas A & M University, Commerce Texas
Texas A & M University Clarinet Day - 8 March 2008
Guest Clinician - Dr Gary Whitman, Professor of Clarinet, Texas Christian University
The event is designed for high school and college students from around the region as well as for Band Directors and private teachers. All events are free to the public and students do not need to register to attend this event.
Master Classes will be given by guest artist Gary Whitman, Professor of Clarinet at Texas Christian University along with performers from this region.
The festival schedule is still tentative, so check the websites for updated information and contact Dr Mary Alice Druhan
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Musikmesse set a new record for visitor numbers in 2007. 79,700 visitors – an increase of 6.8 % compared to the year before. You can benefit from this positive development by exhibiting your latest products at the next Musikmesse in Frankfurt from 12 to 15 March 2008 |

The Woodwind and Musical Concepts of
March 14, 2008 - 11am-3pm
2600 Netherland Ave. #425
Riverdale NY, 10463
Topics to include:
Embouchure, breathing, articulation, equipment, preparing for auditions (orchestral/university) and opportunities in today's music business.
The class is open to both clarinetists and saxophonists. It will be held at 2600 Netherland Ave, Riverdale, NY and is easily accessible by NYC public transportation. The class is limited to six participants. $50 admission charge. Please RSVP to jdaug4780@msmnyc.edu as early as possible to reserve a seat, directions, and for possible carpool options from Manhattan.
Versatile woodwind artist Edward Joffe has been a vital part of the New York music scene for over thirty years. He has performed in every type of musical situation and taught from elementary school through graduate school. A native New Yorker, Dr. Joffe performs recitals frequently throughout the New York Metropolitan area.
Orchestral performances with the New York City Ballet, Philadelphia Orchestra, New York Philharmonic, New Jersey Symphony, Brooklyn Philharmonic, Westchester Philharmonic, Kirov and Bolshoi Ballets.
New Jersey City University Professor of Woodwinds & Jazz
Chamber Music performances with the Philip Glass Ensemble, the Steve Reich Ensemble, and the New York Chamber Symphony.
Commercial
music performances/recordings with
Barry Manilow, Audra McDonald. Shirley Bassey, Ray
Charles, Mel Torme, Kiri Te Kanawa and Aretha Franklin.
Broadway
shows including
The Drowsy Chaperone, Fosse, Victor Victoria,
Oklahoma, Gypsy, Damn Yankees, Me and My Girl, and A Chorus Line
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Announcing Midwest ClariFest 2008
University of Nebraska
Friday, March 28, 2008
