Report: International Clarinet Association “ClarinetFest” 2014

I got to attend this year’s International Clarinet Association conference (“ClarinetFest”) on the Louisiana State University campus in Baton Rouge.

The conference started on a sad note, as a car accident claimed the lives of two clarinetists on their way to represent Baylor University, and injured two others. In their memory, many of the conference attendees wore ribbons in Baylor green during the week. Many of the conference events began with a moment of silence.

clarinetfest-badge

The conference was, as always, packed with events, sometimes with three or four venues active at the same time, starting Wednesday afternoon and continuing through Sunday afternoon. The first few days were unseasonably cool and pleasant, but the Louisiana heat and humidity came back in time for the weekend.

I went to more recitals than I can remember or do justice to here, with outstanding and varied performances by clarinetists from around the world. Many of the recitals were listed as “lagniappe” programs, featuring several soloists or groups each playing a work or two. (For more details, try the ClarinetFest blog, which has many reports on individual events.)

I also attended a number of lectures and workshops, opting mostly for those related to movement and health (an area I would like to improve in my teaching), but also a few based on the 2014 theme of “The Clarinetist as Entrepreneur.” Another particular highlight was a panel discussion featuring Stanley and Naomi Drucker, Lawrence Sobol, and Larry Combs telling stories from their careers. And I gave a presentation on woodwind doubling in the 21st century (more details in another blog post).

L-R: Stanley Drucker, Naomi Drucker, Lawrence Sobol, Larry Combs.

The exhibit halls were filled with the sounds of clarinetists trying out new instruments and accessories. I picked up a few items, at least one of which I hope to review here soon.

I participated in a clarinet choir made up of around 50 clarinet professors, which was a nice chance to meet some colleagues.

Each of the evening concerts was a highlight. Wednesday’s program was clarinet works with a chamber orchestra, Thursday featured jazz clarinetists, Friday was chamber music featuring the clarinet, and Saturday was concerti with a full orchestra.

Clarinetists (L-R) Gregory Agid, Harry Skoler, Felix Peikli, and Evan Christopher performing with the ClarinetFest rhythm section at the Thursday night jazz concert.

As expected, ClarinetFest 2014 was an excellent and inspiring experience, but also exhausting. It would be okay with me if in the future some of the evening concerts got trimmed a little for length—3+ hours is a lot of clarinet when it follows a full day of recitals and masterclasses, and the next day starts bright and early.

ClarinetFest 2015 will be held next July in Madrid, Spain.

Favorite blog posts, July 2014

Hand-picked high-quality woodwind-related blog posts from around the web, July 2014 edition.

Woodwind doubling and the “main” instrument

I identify very much as a woodwind player: as far as I’m concerned, if it’s a woodwind, it’s part of what I do. But when I introduce myself to someone that way, I am frequently asked, “But which one is your main instrument?”

Auxiliary instruments and college study

One thing that seems to surprise some prospective college music majors is that we have different views about what I consider “auxiliary” instruments. For example, it’s common for prospects to identify themselves as bass clarinetists, or as tenor saxophonists. Some of these students have never even attempted to play a B-flat clarinet or an alto saxophone, and sometimes show little interest in doing so. Am I old-fashioned to expect my saxophone majors to play mostly alto and my clarinet majors to play mostly B-flat?

12(+) ways to practice a technical passage

Rhythmic variation is an excellent way to keep some variety and interest in your practicing, even when you’re stuck on a particularly frustrating passage.

Favorite blog posts, June 2014

Hand-picked high-quality woodwind-related blog posts from around the web, June 2014 edition.

The problem with “ethnic” woodwinds

I am trying to get away from using the term “ethnic” woodwinds, one that I have used frequently in the past as a catch-all for the instruments I play that aren’t modern Western woodwinds. The term was problematic from the beginning, since, for example, I was using it to include instruments like recorders, which fall squarely under the umbrella of Western music traditions, but are arguably period or historical instruments. Additionally, I find that the term “ethnic” increasingly grates on my ear as too ethnocentric and limited a view, and incompatible with my real attitudes concerning music from cultures and traditions other than my native ones.

Dissertation: Woodwind doubling on folk, ethnic, and period instruments in film and theater music

My doctoral dissertation is now available online through the University of Georgia library, entitled Woodwind doubling on folk, ethnic, and period instruments in film and theater music: Case studies and a practical manual.

Review: Ben Britton’s A Complete Approach to Overtones

A review of Ben Britton’s book A Complete Approach to Overtones: Vivid Tone and Extended Range, a broad-based approach to improving every aspect of saxophone tone production (particularly tone, intonation, and response).

Favorite blog posts, May 2014

Hand-picked high-quality woodwind-related blog posts from around the web, May 2014 edition.