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.

Favorite blog posts, June 2014

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

Favorite blog posts, April 2014

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

Favorite blog posts, March 2014

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

Misconceptions about saxophone-to-clarinet doubling

I saw a blog post recently by a saxophonist who had been called upon to play some clarinet for a big band jazz gig. The post was full of common frustrations that saxophonists who are casual clarinet doublers face in that situation. I want to respond to some of the ideas in that post, but since it’s not my object to embarrass anyone I’m not going to name the saxophonist or link to the blog post. Also, the “quotes” I’m using here are actually paraphrases, but I believe they capture the saxophonist’s intended meaning.

The clarinet is evil! And it sounds like a dying animal.

I understand this is said in jest, but fear and/or contempt are not good starting points for approaching woodwind doubles. Either focus your energies on instruments you are motivated to play, or have an open mind. As with most things, you probably hate and fear the clarinet because you haven’t taken the time and effort to get to know it.

photo, APMus
photo, APMus

I’m actually pretty good at the bass clarinet, though.

I doubt it! There are plenty of saxophonists who claim they can play the bass clarinet but not the B-flat clarinet. In many, many of those cases, what the saxophonists mean is that they can use a very saxophoney approach to playing the bass clarinet—a too-low voicing, a too-horizontal mouthpiece angle, etc.—and make some kind of sound, whereas the smaller B-flat simply won’t cooperate at all with these bad techniques. Truly good bass clarinetists, however, produce a more characteristic sound because they play the instrument like what it is: a member of the clarinet family.

I dug up a fingering chart so I could do some practicing for my gig. Those pinky fingerings just don’t make any sense, plus you have to read a bunch of ledger lines.

Saxophonists are spoiled by the instrument’s relatively small “standard” range and relatively simplistic fingering scheme. But I think a reasonable argument could be made that the clarinet’s system of alternate “pinky” fingerings is tidier and more flexible than the saxophone’s clunky rollers. Break out the Klosé book and learn to do it right.

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Favorite blog posts, February 2014

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

Favorite blog posts, January 2014

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

Playing flat on the clarinet

The correct solution to this problem is to take at least a few lessons with an excellent clarinet teacher. A good teacher faced with this problem will review the fundamentals of tone production with you: breath support, voicing, and embouchure formation. With some dedicated practice, you will almost certainly see your pitch improve (as well as your tone, response, and more).

Required recordings, spring 2014

Here are the recordings I’m requiring my university students to add to their collections this semester (depending on which instrument they play). All are available on CD or for download from Amazon or iTunes.

Allan Vogel: Oboe Obsession

Amazon (CD) | Amazon (download)

Repertoire: Saint-Saëns Sonata, Poulenc SonataBritten 6 Metamorphoses after Ovid, Schumann Three Romances, W. F. Bach Duet, Shinohara Obsession.

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