Dawn Marie Lindblade contributed an assessment of solo and ensemble repertoire lists for the years 2008-2009. She offered suggestions of pieces to expand the lists and to provide young students with other contemporary selections within appropriate difficulty levels. Her suggestions include Adagio: for Clarinet and Piano, Sonata da camera: for Unaccompanied Clarinet, and Sonatina for Clarinet and Piano by Paul Harris, as well as Divertimento for Clarinet and Piano by Talivaldis Kenins and Avrahm Galper.
Andrea Harrell presented the audience with information and history regarding the 1896 Vienna Tonkunstler-Verein composition competition. She gave an overview of three award-winning works and seven anonymous chamber music submissions that include the clarinet from that competition year. Initially the Vienna Tonkunstler-Verein was a musical society in Austria that held social gatherings, concerts, and funded musical activities. Johannes Brahms was very involved in the society, and was eventually named the honorary president for the group. For competitions a panel of judges would choose finalists who would then perform at five different concerts. Winners of the competition received a cash prize and their pieces were published. Three winning pieces were Quartet for Clarinet, Violin, Violoncello, and Piano by Walter Rabl, Septet ‘Aus meinem Leben’ for Violin, Viola, Violoncello, Clarinet, Bassoon, and two Horns by Joseph Miroslav Weber, and Trio for Pianoforte, Clarinet, and Violoncello by Alexander Zemlinsky.
The final presenter was Kellie Lignitz-Hahn. She provided a comparison of four original works for clarinet and guitar. Her research resulted in finding the progression of importance of each voice, clarinet and guitar, over the span of the following works: Serenata Svizzera, Op. 29 by Heinrich Neumann, Sonate fur Klarinette and Guitarre No. 2 in A Moll by Ferdinand Rebay, Blue Third Pieces by Libby Larsen, and Four Miniatures by Gernot Wolfgang. The four pieces for clarinet and guitar were selected to show the progression of equality for the two voices beginning with the Neumann. In this piece, the clarinet constantly holds the melodic line while the guitar is strictly accompanimental support. In similar fashion Rebay predominately gives the clarinet the melodic line with the guitar holding a more virtuosic role while still providing support. Libby Larsen adds a jazz influence with an increase in unison lines for both voices. Finally, Wolgang’s Four Miniatures reverts the melody line back to the clarinet while both voices are given virtuosic and soloistic opportunities. These four pieces span 181 years of development for clarinet and guitar repertoire beginning with Nuemann’s Serenata Svizzera written in 1826 and ending with Four Miniatures composed in 2007.
–Notes by Jennifer Reeves
Jennifer Reeves is pursuing her DMA in clarinet performance at the University of Nebraska-Lincoln under the direction of Dr. Diane Barger.