International Clarinet Association Low Clarinet Festival
Glendale Community College, Glendale, AZ
January 5-8, 2023

Local Restaurants and Things to Do
Campus Map
Parking is FREE in S2, S3, and S6 Lots

Shuttle Hours
Thursday, January 5: 7:30-11:30 AM & 6:30-10:30 PM
Friday, January 6: 7:30-11:30 AM & 6:30-10:30 PM
Saturday, January 7: 8:00-10:00 AM & 9:30-10:30 PM
Sunday, January 8: 8:00-10:00 AM & 5:30-6:30 PM

Shuttles run between GCC campus (Sunnyslope entrance by the library book drop off) to
Aloft Hotel Westgate 6920 N 93rd Ave, Glendale, AZ 85305
TownePlace Suites 7271 N Zanjero Blvd, Glendale, AZ 85305

Exhibitors
MU1 101, MU2 152 and PAC 144
Alea Publishing
Buffet Crampon
Clark Fobes - Clarinet & Saxophone ProductsConn Selmer
Corbin Clarinet Products
JD Woodwinds
Lisa's Clarinet Shop (Bruce Marking Repairs)
Lohff & Pfeiffer
North Country Winds
Silverstein Works
VandorenWalter Grabner’s Clarinet Xpress2

MU2 152

3

MU1 101

4

PAC 144

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Education Outreach Concerts made possible by the Reimagine Grant

SchoolArtistVista Verde Middle School

Lucas Gianini

Veritas Preparatory

Marta Kania

Paradise Valley High School

Laissez Pair

Deer Valley High School

Fie Schouten

Mountain Ridge High School

Andy Hudson

Dysart High School

Stephan Vermeersch

Cortez High School

Larkin Sanders

Washington High School

Ros Dunlop

Glendale High School

Alicia Lee

Special Thanks to Glendale Community College Faculty and Staff:
Stefanie Gardner, Music Program Director
Don Smith, Performing Arts Department Chair
Doug Nottingham, Occupational Program Director, Music Industry Studies
Alyssa Beach, Senior Administrative Specialist
Carly Zufelt, Dean of Academic Affairs
Lorelei Carvajal, Acting Vice President of Academic Affairs
Kenneth Backer, Performing Arts Center Coordinator
Kris Swinson, Program Specialist
Catherine Crawford, Property & Materials Specialist Senior
Sandi Reyes, Coordinator of Receiving & Property Control
Debra Polak, Campus Police Commander
Serge Michel, Sodexo Manager
Dina Norris, Catering Manager
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ICA Low Clarinet Festival Artistic Committee:
Jason Alder, Jeff Anderle, Lara Díaz, Stefanie Gardner (Artistic Director), Michael Lowenstern,
Marco Mazzini, Jonathan Russell, Stephan Vermeersch, Sarah Watts
ICA Low Clarinet Festival Volunteers:
Rongbing Shen, ICA Intern
Brian Almanza, Lauren Ardelt, Yareli Bailon Rios, Marvin Banks, Relvecchio Benaly, Alanna
Benoit, Warrior Bewley, Ryan Callahan Odgers, Macey Campobello, Chris Conti, Gabe Cota,
Wilber De La Cruz Evangelista, Jori Hemphill Ferralez, Kristin Fray, Kimberly Fullerton,
Rachael Geiger, Max Gran, Leif Graves, Rachel Jones, Henry McNamara, Cierra Miller, Aaron
Jimenez Obeso, Dakota Laurent, Rachel Lomeli, Christopher Montgomery, Frederick Moor,
Alexis Noland, Isaac McIntosh, Anthony Perkins, Taylor Thompson
ICA Board:
Diane Barger, President
Denise Gainey, Past President
Catherine Wood, President Elect
Laura Grantier, Secretary
Kip Franklin, Treasurer
Eddy Vanoosthuyse, International Vice President
Jessica Harrie, Executive Director of Operations

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PROGRAM
Festival Registration
Thursday January 5, 10:00-11:30 AM
PAC Lobby
Food Trucks in front of the Student Union (SU) 11:00 AM - 7:00 PM
Basset Horn Duet Performance
Thursday January 5, 11:30-11:55 AM
PAC Auditorium
12 Duets KV 487
W.A. Mozart
Shannon Kiewitt and Parker Gaims, basset horns
Program Notes:
While little is known of the background of Mozart’s 12 Duos for Horn, KV 487, there is anunusual story that accompanies these delightful pieces. The manuscript bears the note “untern
Kegelschrieben,” or “while playing skittles,” proving that Mozart could compose anytime andanywhere.
Mozart loved to play skittles, a game in which one threw or rolled a wooden ball or disk to knock
down nine pins. The only inscription regarding skittles can be found on one of his manuscripts
which happens to be the 12 Duos for Horn, KV 487. These Duos were completed in 1786 and theinscription reads “Wien den 27.t Julius 1786 untern Kegelscheiben” (Vienna, 27th July 1786
while playing skittles).
Many stories have been written about how and why these duos were composed. One such storyis that Mozart was playing skittles one evening when some traveling musicians, presumed toplay the French Horn, passed through and played a few pieces. They then asked Mozart if hewould write something for them. Now, if this is indeed the case, these musicians must have beenvery fine performers, considering that the horn of Mozart’s time was principally confined to the8series of natural tones to which only the best of players could technically add a few in between
notes. The demands upon the musicians, particularly in the upper register, make these pieces
for horn unique.
Now, it is not entirely clear whether Mozart originally wrote the pieces for French horn. Some
believe these Duos were actually written for the Basset Horn. What is true is that they are alovely collection of pieces for two players, whatever the instrumentation! There are various
arrangements floating about of the Duos ranging from two violins, two clarinets, cello andbass clarinet, oboe and bassoon, two saxophones and many more! We feel these duos are
perfectly suited and most appropriate for the Basset horn.
We are excited to present our own arrangement of Mozart’s 12 Duos for Horn, KV 487 for two
Basset Horns. In keeping with the style of how Mozart would elegantly write for this glorious
instrument, we have carefully and diligently added our own articulations, created subtle dynamicchanges, decorated with tasteful ornamentation, and explored a colorful use of register changes
to highlight the beautiful low end of the instrument in particular thus making the music flow
elegantly throughout each movement.

Exhibits
Thursday January 5, 12:00-5:00 PM
MU1 101, MU2 152 and PAC 144
Stephan Vermeersch, bass clarinet
Thursday January 5, 12:00-12:25 PM
PAC Auditorium
Hommage à Mozart (2022)^
Serendipity for bass clarinet quartet (2012)

Stephan Vermeersch
Stephan Vermeersch

Stephan Vermeersch, Lara Díaz, Stefanie Gardner, Jason AlderIn a Crowded Comb (2022)*
Three Meditations (2012)

Cornelius Boots
Branimir Norac^United States premiere*world premiere
9Fie Schouten MasterclassThursday January 5, 1:00-1:55 PM
MU2 151 Recital Hall
Chandler Myhan, US
Introduction and March, John Rarig
Andrew Rutten, US
In A Deep Funk mvts. 1 and 2, Daniel Dorff
Sean McBride, US
Bass Clarinet Concerto mvt. 1, Geraldine Green

Bass Clarinet Miniatures by Women Composers
Thursday January 5, 2:00-2:25 PM
PAC Auditorium
Statuettes (2006)
7F (2017)
Icebreaker (2020)
The Faery Cup (2019)
Prayer (1996, 2008)

Eliane Aberdam b. 1964
Cara Haxo b. 1991
Anna Vriend b. 1961
Jane Stanley b. 1976
Lera Auerbach b. 1973

This recital highlights the works of five women of varied nationalities. Indeed, most of thesecomposers reflect a dual heritage: Eliane Aberdam (France and USA), Anna Vriend (Netherlands
and Great Britain), Cara Haxo (USA), Jane Stanley (Australia and Great Britain), and Lera
Auerbach (Ukraine/Russia and USA). All of these composers were born in the latter half of the20th Century. My intent is to make listeners aware of these stunning miniature pieces, eachbetween two and six minutes in length. Additionally, I wish to bring these composers and theirworks to the attention of the bass clarinet community. While they are each of advanced difficulty,
they are all playable on a standard bass clarinet (to low E-flat).
Timothy Bonenfant, bass clarinet

10Cris InguantiThursday January 5, 2:30-2:55 PM
PAC Auditorium
To Be Sung Upon the Water (Bacarolles and Nocturnes)

Dominic Argento

Prologue: Shadow and Substance
The Lake at Evening
Music on the Water
Fair is the Swan
In Remembrance of SchubertHymn Near the Rapids
The Lake at Night
Epilogue: De Profundis
Christine Graham, soprano
Cris Inguanti, clarinet and bass clarinet
Michelle Wachter, piano

Customized Instrument Improvements with Wolfgang Loh
Thursday January 5, 3:00-3:25 PM
MU2 151 Recital Hall
One of the best-kept secrets is that "excellent instruments are not found, but made!"Through this presentation Wolfgang Lohff will explain how optimization is beneficial to every
player, independent of their personal preference or abilities. Like improving the performance andefficiency of a car, a well adjusted and optimized bass clarinet is like going from black and whitemovies to color. New dimensions open, greater power, and a more depth of your sound is heard.
He will go through each of Lohff & Pfeiffer’s woodwind optimization techniques developed overyears of experience. These techniques consists of three major aspects and can be applied to new
and used instruments alike:111. Eliminating production and material faults (i.e. leaks and tone hole faults).
2. How long-lasting pad materials or ball-bearing systems improve performance and reliability
3. How noise reduction or resonance improvements enhance performance
4. How proper care and optimization saves money and improves efficiency
Wolfgang Lohff, repair technician

The History of the Contrabass Clarinet: Development and Repertoire
Thursday January 5, 3:30-4:15 PM
MU2 151 Recital Hall
The contrabass clarinet is relatively new in the clarinet family, and its integration into repertoire
has been a slow process. This presentation examines the development and manufacture of the
instrument and its inclusion in compositions. Previous research has included some of the early
contrabass clarinets and its earliest uses in music, but there has been no recent and up-to-date
discussion of the development of modern instruments and repertoire. This presentation details all
known contrabass clarinets manufactured to date and their role in the evolution of the repertoire
beginning with the early opera works and chamber music, through the American wind band
repertoire, and into the modern solo and orchestral uses with some analysis of the works and theplayers involved in their creation. Although it is not an exhaustive list, the compositions covered
here represent most of the important or significant works written for the contrabass clarinet,
derived through the creation of what aims to be a complete database of contrabass clarinet
repertoire and recordings.
Jason Alder, low clarinet specialist

12World Premieres for Bass Clarinet Quartet
Thursday January 5, 4:00-4:25 PM
PAC Auditorium
Split
Rule of Three
Lateral Improvement
Columba

Jeremy Klenke (b. 1986)
Daniel Jamieson (b. 1986)
Paul White (b. 1973)
Kevin Walko (b. 1983)

Members of the U.S. Army Field Band clarinet section
MSG Jennifer Everhart
MSG Chad Martin
SFC Kevin Walko
SSG Mikey Arbulu

Four New Works for Contrabass Clarinet
Thursday January 5, 4:30-4:55 PM
PAC Auditorium
Hymn for Contrabass Clarinet and Piano
Wanderer for Solo Contrabass Clarinet
Redder Sagas for Solo Contrabass Clarinet
Bullfrog’s Love Chant (unrequited)

Francisco Javier de Alba (b. 1994)
Zachary Bush (b. 1993)
Ashlee Busch (b. 1986)
Jonathan Russell (b. 1979)

Kimberly Irene Fullerton, contrabass clarinet
Gail Novak, piano

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Festival Low Clarinet Choir Rehearsal
Thursday January 5, 5:00-6:00 PM
PAC Auditorium
Dr. Jason Caslor, conductor
Participants should bring their own music stand and plan on wearing black attire for the Saturday
evening concert. Click here for choir parts

Artistic Committee Concert
Thursday January 5, 7:30 PM
PAC Auditorium
Black
Sojourn of the Face
Dear Theodosia
Toccata and Fugue in d minor

Marc Mellits
Cornelius Boots
Lin-Manuel Miranda
J.S. Bach (arr. Jonathan Russell)

SqwonkJeff Anderle and Jonathan Russell, bass clarinets
The Mindlessness of It All
Sorrow Songs, Op. 57

Malcolm J. Solomon
Samuel Coleridge-Taylor

Sarah Watts, bass clarinet
Kimberly Davenport, piano
Funky Groove Vortex
Her Sister’s Notebook
VIII.
38 bar miniature
IX. 42 bar miniatureX.
65 bar miniature

Jonathan Russell
Lola Perrin

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SEVILLA (Sevillanas)*
No. 3 de la Suite Española, Op. 47
The Kaleidoscopic Pocket Hockets Boogaloo

Isaac Albénizarr. Lara Díaz
Arthur Gottschalk*world premiere; commission made possible by the Reimagine Grant
Jason Caslor, conductor
Jason Alder, bass clarinet and contrabass clarinet
Jeff Anderle, bass clarinet
Lara Díaz, bass clarinet
Stefanie Gardner, bass clarinet
Andy Hudson, bass clarinet
Kimberly Fullerton, contrabass clarinet
Jack Liang, bass clarinet
Jonathan Russell, bass clarinet
Stephan Vermeersch, bass clarinet
Tasha Warren, bass clarinet
Sarah Watts, bass clarinet

Artistic Committee Reception
Thursday January 5, 10:00 PM
State 48 Funk House and Brewery
6770 N Sunrise Blvd
Glendale, AZ 85305
Andy Hudson Bass Clarinet Quartet

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Exhibits
Friday January 6, 9:00 AM-5:00 PM
MU1 101, MU2 152 and PAC 144
Sarah Watts Masterclass
Friday January 6, 9:00-9:55 AM
MU2 151 Recital Hall
Lindsey Soller, US
Sarabande and Bourree, BachMarta Kania, Sweden
Sonatina, Csaba Deak
Rodolfo Rodriguez, US
The Sacred Teaching of A Lonely Goose, mvt. 3, Cornelius Boots

Glendale Community College Low Clarinet Choir and the TAMUK Los
Padres del Clarinete Bajos
Friday January 6, 10:00 AM
PAC Auditorium
Klez Duo
Danse Macabre
Wolf (2021)

Jonathan Russell
Camille Saint-Saëns arr. Cornelius Boots
Luke Ellard

The TAMUK Los Padres del Clarinete Bajos
Leonardo Palma
Rodolfo Rodriguez
Kevin Perez
Danny Troncoso16Three Korean Folk Songs
I. Arirang
II. Gold Grass
III. Blue Bird
Bad Guyarr. Kelly Via

Billie Eilisharr. Olivia Guillaume

Ultimate Transformation: Fire from The Parliament of Reeds Part V
Pas Redoublé

Jon Russell
Camille Saint Saëns
arr. Matt Johnston

Glendale Community College Low Clarinet Choir or “TEAM LO-BLOW”
directed by Dr. Stefanie Gardner
Brian Almanza, contrabass clarinet
Lauren Ardelt, bass clarinet
Yareli Bailon, bass clarinet
Relvecchio Benaly, bass clarinet
Alanna Benoit, bass clarinet
Warrior Bewley, alto and bass clarinet
Ryan Callahan Odgers, bass clarinet
Macey Campobello, bass clarinet
Wilber De la Cruz, bass clarinet
Kristin Fray, bass clarinet
Kimberly Fullerton, contrabass clarinet
Joshua Gardner, bass clarinet
Rachael Geiger, bass clarinet
Jori Hemphill Ferralez, contrabass clarinet
Aaron Jimenez Obeso, bass clarinet
Rachel Jones, bass clarinet
Dakota Laurent, bass clarinet and contralto clarinet

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Rachel Lomeli, alto clarinet and bass clarinet
Isaac McIntosh, bass clarinet
Henry McNamara, bass clarinet
Alexis Noland, bass clarinet
Adam Schay, bass clarinet

Extended Techniques Masterclass
Friday January 6, 11:00 AM-12:00 PM
MU2 151 Recital HallThis Masterclass will discuss extended techniques commonly found in new music repertoire forlow clarinets, and methods to properly execute them. Some of the techniques include
multiphonics, slap tongues, quarter tones, color/timbral fingerings, and singing while playing.
Have a question about something we don’t discuss? Ask during the session. Bring yourinstrument to try them out and get help from the panel!
Panel: Jason Alder, Jeff Anderle, Lara Díaz, Stefanie Gardner, Mike Lowenstern, Jon Russell,
Stephan Vermeersch, Sarah Watts

Dedicated Exhibit Time/Lunch
Friday January 6, 12:00-1:00 PM
MU1 101, MU2 152 and PAC 144
Food Trucks in front of the Student Union (SU) 11:00 AM - 7:00 PM
Bass Clarinet Association of Canada
Friday January 6, 1:00-1:25 PM
MU2 151 Recital Hall
Le départ* bass clarinet solo with acoustics (2022)
Charlotte Layec

Charlotte Layec

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Suite convergente pour 2 clarinettes basses
Mélanie Bourassa and Marie-Julie Chagnon

Olivier Gagnon

Feierliches Stücke pour 4 clarinettes basses

Richard Wagnerarr. Victor Alibert

Victor Alibert, Ludovik Lesage-Hinse, Charlotte Layec, Jack Lau
Cathédrale* pour 5 clarinettes basses
Sébastien Champagne
Mélanie Bourassa, Marie-Julie Chagnon, Charlotte Layec, Jenny Maclay, Ludovik Lesage-Hinse,
Jack Lau*world premiere
This concert is supported by Le centre d'excellence canadien en clarinette basse.
The Bass Clarinet Association of Canada was founded by Mélanie Bourassa and André Moisan
in June 2020. It aims to promote repertoire and musicians from Canada and to gather ourcommunities. It also aims to develop an interactive catalog of repertoire online, linked to themusical library of University Laval. www.accb.ca

A Sense of Place
Friday January 6, 1:30-1:55 PM
PAC Auditorium
Many works in this concert program by contemporary Australian composers and played byAustralian bass clarinetist Ros Dunlop, have been written about issues often low on the agendaof governments. These works are commentaries on human rights issues, such as the loss of place
and the need for a safe place (see program notes below).
Humanity Washed Ashore/Paradise Lost
Papua Merdeka

Margery Smith/Penelope Lee
Martin Wesley-Smith

Ros Dunlop, bass clarinet

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PARADISE [2016] artists: Penelope Lee & Nathalie
Hartog-Gautier
Initially conceived as a collaboration between Penelope
Lee and Nathalie Hartog-Gautier, Paradise, a paper
sculpture is a memorial to those who lost their lives fleeing
war and oppression in the hope of reaching safe haven inAustralia. The capital represents this as a place of peace,
freedom and natural beauty. The column represents thestrength it takes to carry the weight of life’s burdens andrisk a journey into the unknown. The ephemerality of its
paper surface bears witness to those who were lost at sea
or died in detention, while seeking a safe haven, peace andfreedom. In this tribute, the names of those who bravely
made the journey to find a new life, a new paradise, areremembered. Penelope Lee created the film Paradise Lost
based on the artwork. © Penelope Lee
Penelope holds a Master of Design with UNSW Art and
Design. Her work integrates the medieval origins of paper
making, printmaking and book binding with new media
materials and technologies, in artifacts that explore theway we read the world. Nathalie holds a Master of Fine
Arts, CoFA UNSW. Her practice over the years has
focused on the concept of the voyage, its transformations,attachments and associations, especially when placeinterconnects with memory and identity.
HUMANITY WASHED ASHORE [2016] composer, Margery Smith
The image of three-year-old Aylan Kurdi washed up on a beach in Turkey became a symbol of
the human tragedy unfolding on the shores of Europe during 2015 as a result of the war in Syria.
He was not the only one. For a short time, it seemed that the global community was open tofinding a more compassionate approach. However, national governments seem incapable ofdealing with the flow of refugees from conflict in a long-term, cooperative and globally
responsible way. In 'Humanity Washed Ashore' I want to keep that spirit of compassion alive.
One of the unique strengths of music is its ability to embody loneliness & pain but also strength& freedom. © Margery Smith

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Margery Smith is a Sydney-based performer/composer and improviser. Past lives have been as
Principal Clarinet with Orchestra Victoria and as Associate Principal Clarinet with the Sydney
Symphony and the Australian Opera and Ballet Orchestra. Commissions include works for
Orchestra Victoria, Continuum Sax, PACT Youth Theatre, Sydney Omega Ensemble, Hourglass
Ensemble, Ros Dunlop and Charisma. Her career incorporates time spent as Composer in
Residence at International Grammar School, teaching and various projects involving the use of
improvisation and collaboration in educational and community contexts.
PAPUA MERDEKA [2005] composer, Martin
Wesley-Smith
The 1969 UN-sanctioned "Act of Free Choice" that handed
the Dutch colony West Papua to Indonesia was a sham, an
act of no choice for the West Papuan people. Since then,Indonesia has treated the territory as it did East Timor, with
rampant human rights abuse as well as exploitation, in
collusion with America and others, of West Papua's richnatural resources. This piece is about the West Papuan
people and their thirst for freedom. Almost all the sources
I've used in creating it were begged, borrowed or stolen
from others. They include Agence France Presse, theAustralian Broadcasting Corporation's 2JJJ, Penny
Beaumont, Sheila Draper, Don Bennetts, Gerry Errante,
Steven Feld, Lynne Hamilton (of Prowling Tiger Press in
Melbourne, who published West Papua: Follow theMorning Star by Ben Bohane, Jim Elmslie and Liz
Thompson, an inspiring book of superb texts andphotographs), David Kirkland, Jonny Lewis, Robert Lowry(Shall We Gather at the River?), Jonathon Mustard, SBS
News, Edward Smith and Alice Wesley-Smith - my thanks
to all these plus those whose names I don't know or contact
addresses I can’t find. Thanks also to David Bridie, Louise
Byrne, Andrew Kilvert and Rob Wesley-Smith. Two otherbooks provided valuable information: Jim Elmslie's Irian
Jaya Under the Gun (Crawford House Publishing(Australia) Pty Ltd) and Peter King's West Papua Since
Suharto (University of New South Wales Press). I used thebeautiful West Papuan anthem Hai Tanah Ku Papua. Flags,
used with permission, came from21http://www.theodora.com/flags. Most of the bird of paradise
paintings were by Rowan Ellis (1848-1922). Finally, thanks
to Ros Dunlop for commissioning the piece through theauspices of the Australia Council.© Martin Wesley-Smith
Martin Wesley-Smith [1945-2019] was an eclectic
composer whose music ranges from children's songs tolarge-scale environmental events. Two main themes in hismusic and multimedia pieces are the life, work and ideas ofLewis Carroll, and the plight of the people of East Timor.
Having taught electronic music and composition at the
Sydney Conservatorium of Music for 26 years,
Wesley-Smith left in 2000 to become a full-time composer.

Elisabeth Stimpert
Friday January 6, 2:00-2:25 PM
PAC Auditorium
Neat n’ Nasty
Elisabeth Stimpert, bass clarinet
Gail Novak, piano

Stefan Freundchaconne and chaser for bass clarinet and marimba (2015)
Elisabeth Stimpert, bass clarinet
Alex Smith, marimba

Robert Pound

Composer Robert Pound describes the work: “Objectively, ‘chaconne and chaser’ exploits the
special acoustic characteristics that arise from the pairing of the bass clarinet and themarimba... the first movement comprises a chord progression and six variations... In theperpetual-motion chaser, the instruments take turns punctuating individual notes or shortsegments of the other’s scrambling lines and/or harmonize them to achieve diverse
colorings...the ‘chaconne’ is alternately declamatory and dizzy or—better—ditsy, while ‘chaser’is driven, driving, and—perhaps—drastic.”

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Press Release Masterclass with Je Anderle
Friday January 6, 2:30-3:15 PM
MU2 151 Recital HallDavid Lang’s “Press Release” has become a staple of the solo bass clarinet repertoire. Full ofacrobatic leaps and aggressive articulation, this post-minimal masterwork can be challenging, but
is also incredibly fun and rewarding to perform. The masterclass will start with a discussion anddemo about slap tonguing and then cover stylistic considerations, practice techniques, andstrategies for effective performances.
Maria Juliana Sivila, Argentina
Translator: Rachel Lomeli

Potpourri Recital
Friday January 6, 3:30-5:00 PM
PAC Auditorium
Bottom Dog for 2 bass clarinets and contrabass clarinet

Jody RockmakerStefanie Gardner, bass clarinet
Joshua Gardner, bass clarinet
Steve Hanusofski, contrabass clarinet
Bi-Valve
BeastsI. GEcho Chamber
II. Load of Bull

Rusty Banks (b. 1974)
Jessica Lindsey (b. 1978)

Spatial Forces Duo
Christy Banks and Jessica Lindsey, bass clarinets

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Prayer
Mask of Fear
Dance Suite* 2019/2022
I. Break the Loop
II. Slow Motion//Fast Forward
III. Untethered

Lera Auerbach
Jonathan Posthuma
Patrick Harlan

Tasha Warren, bass clarinet
Gail Novak, piano“If I were only halfway home”

Ledah Finck

Andy Hudson, bass clarinet*world premiere
Program Notes:
Bottom Dog
Two big, slobbery mutts frolic in the muddy patch of a dog park. A much bigger, scruffy dog
lurks behind the gate. The two buds cautiously romp. The great mongrel growls and paws to getin. Suddenly, he bursts into the enclosure. Dogs scatter in panic. Big boy huffs and snarls before
staking his claim in the middle of the pitch. The two friends warily circle the perimeter. The
droopy-eyed monster eyes them suspiciously. Swiftly, the behemoth lashes out at our two
comrades. The chase is on! The cur nips at the hapless duo as they run panic-strickened from thefield. One large, muddy, grass-covered brute sits in the dog park and wails a lament about
being left all alone. Our two brave heroes carefully approach and find a new friend. Three large
shaggy friends frolic in the muddy patch of a dog park. The first image that came to my mind
when Dick Nunemaker first invited me to our fourth collaboration (this time a trio for two bass
clarinets and the under-used contrabass clarinet) was of three large but agile dogs rollicking in apark. A story took shape that became the underlying structure behind Bottom Dog. Two identical
instruments and one much larger cousin become characters in a drama in which the odd fellow
clumsily struggles for acceptance. Musically, the three instruments share many traits, especiallythe two bass clarinets. Each part also maintains its own distinct character throughout the work, as
melodies transform from one personality to the next as it gets passed around.

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Spatial Forces Duo presents two works for two bass clarinets and electronics, featuring thesounds of beasts from the land and sea. The first work, Bi-Valve by composer Rusty Banks,emulates a pair of dueling mussels… Or clams? Nope: bass clarinets! Each performer is pairedwith electronic processing which only bubbles up when playing. Many statements are repetitionsof something already said – it is only the bubbles that change.
The second work, in two parts, is named Beasts and features field recordings from a gecko and abull. In the first part, a gecko recording is played backwards and forwards and is processed witha “wah-pedal” effect to convey a feeling of uncertainty. This part is named GEcho Chamberbecause it represents a time loop in which one’s own insecurities manifest a sense of unease.
Opening the second part, the sound of a bull’s “voice” forms a rollercoaster of sound, followed
by a section where it glitches and interrupts itself. The bass clarinetists then lay down a groove
and the rest of the piece is a roaring good time! This movement is called Load of Bull because it
utilizes bull sounds which match the timbre of the bass clarinet.

Festival Low Clarinet Choir Rehearsal
Friday January 6, 5:00-6:00 PM
PAC Auditorium
Dr. Jason Caslor, conductor
Participants should bring their own music stand and plan on wearing black attire for the Saturday
evening concert. Click here for choir parts

Presentation by Stephan Vermeersch
Friday January 6, 6:00-7:00 PM
MU2 151 Recital Hall
D'Addario Reed Lecture and demonstration acoustic improvements with the Blashaus Neck,
Atelier Bulgheroni end pin & stopper and JLV Phonic Ring.

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Artistic Committee and Low Clarinet Composition Competition Winners
ConcertFriday January 6, 7:30 PM
PAC Auditorium
Giraffatitan for E♭ Contra-Alto Clarinet (2018)*
Sauroposeidon for B♭ Contrabass Clarinet (2018)
Sympathetic Synth for contra-alto clarinet and piano (2022)*
Milieu Interieur II for solo contrabass clarinet (2012)*

Bret Newton
Bill ClayThanos Chrysakis

Jason Alder, contra-alto and contrabass clarinets
Gail Novak, piano
Fields of Neon^Tony RodMatthew Banks, alto clarinet
Gail Novak, piano^2nd place winner of the ICA Low Clarinet Composition Competition and world premiere!
To the Other Side^
ambos*

Kristen Denny-Chambers
Gabriel José Bolaños Chamorro

Égide Duo
Joshua Gardner, clarinet and bass clarinet
Stefanie Gardner, bass clarinet*world premiere^3rd Place Winner in the ICA Low Clarinet Composition Competition and world premiere!
circuitbreaker^

Dalton Ringey

Transient Canvas
Amy Advocat, bass clarinet and Matt Sharrock, marimba

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^1st place winner of the ICA Low Clarinet Composition Competition and world premiere! 1st
prize donation possible by Glenn Deibert, MD, pediatrician and clarinetist, who is delighted tocontribute to this program. Dedicated to William J. Richardson, musician, conductor, teacher andmentor for countless young artists.

Mike Lowenstern
Friday January 6, 9:00-9:30 PM
PAC Auditorium
Selections to be announced from the stage

All Participant Group Warm Up with Stefanie Gardner
Saturday January 7, 8:30-8:55 AM
MU2 151 Recital Hall
Bring your instruments for a group warm up!

Exhibits
Saturday January 7, 9:00 AM-5:00 PM
MU1 101, MU2 152 and PAC 144
Jon Russell Composing for Bass Clarinetists Workshop
Saturday January 7, 9:00-9:45 AM
MU2 151 Recital HallThis hands-on workshop is premised on the belief that ANYBODY can compose music – andthat as a bass clarinet player you are better equipped than most to write effectively for yourinstrument. We’ll demystify the composing process and get YOU writing music for yourself onbass clarinet. No composing experience or music theory background necessary.

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Potpourri Recital
Saturday January 7, 10:00-11:00 AM
PAC Auditorium
Monolog for bass clarinet“Advice from a Caterpillar” from Alice in Wonderland

Isang Yun
Unsuk Chin

Alicia Lee, bass clarinet
Zodiacal Lights (2015)
As Small Birds Play (2011)

Jamie Wind Whitmarsh (b. 1988)
Corrina Bonshek (b. 1977)

Lisa Kachouee, bass clarinet
Severed in parts
Lucas Gianini, bass clarinet

Chris Leich

Living the Low Life: Low Clarinet-speciﬁc Repairs with Miles DeCastro
Saturday January 7, 11:00-11:25 AM
MU2 151 Recital Hall
Low clarinets: Magnificent, but often misunderstood pieces of equipment. These engineering
marvels are capable of some of the most pleasant sounds on earth, but also equally capable ofmaking us want to pull our hair out and question why we didn’t stick with Bb. We will examine
low clarinets in one of their most misunderstood settings- the repair bench. This fast-paced clinic
will cover common low clarinet repairs and adjustments such as balancing the registermechanism, regulation, corks, pads, sneaky body leaks, and how to gently remind well-meaning
band directors not to cram an unnecessary pad under the G/D touchpiece.

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Easy Ri s on Improvisation for Bass Clarinet with Andrea
Vos-Rochefort
Saturday January 7, 11:30-11:55 AM
MU2 151 Recital Hall
Improvising is often considered a specialized skill when it should be to music what play is tolearning - a safe space in which experimentation allows embodiment of theoretical concepts.
This session involves four methods of improvisation which can be experienced regardless ofmusic theory experience and all of which will be demonstrated in a small ensemble setting. The
first method involves thinking creatively through graphic notation and will be demonstrated by
Luke Ellard’s Woof for mixed bass ensemble and Eb clarinet. The second method is call andresponse and can be used in duet form with a teacher and student, teacher and ensemble, or
student and fixed tape or electronics and is demonstrated by Waterbirds, co-composed by Mara
Helmuth and Andrea Vos-Rochefort. The third version is an engaging warm up using pentatonic
scales with a rhythmic drone provided by the ensemble for volunteer solos. The final version is aklezmer doina using a freygish scale exemplified by Jonathan Russell’s Klez Duo. The mostimportant half of learning to improvise is building confidence through enjoyable experiences,and this workshop will allow participants to experience these steps in person or via an online
platform.

Dedicated Exhibit Time/Lunch
Saturday January 7, 12:00-1:00 PM
MU1 101, MU2 152 and PAC 144
Food Trucks in front of the Student Union (SU) 11:00 AM - 7:00 PM

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Potpourri Recital
Saturday January 7, 1:00-2:00 PM
MU2 151 Recital Hall
V^2*

Kristopher Williams

Venn DuoAlexandra Chea, clarinet
Hannah Weller, bass clarinet#YESALLWOMEN* (2022)
Alice’s WorkThe Second Sex
Riot Grrrl
Empow(H)er

Julianna Pierdomenico (b. 1997)

Program Notes:
The year 2023 marks a century since the National Woman’s Party proposed the Equal Rights
Amendment to eliminate discrimination on the basis of gender. Despite meeting the state
ratification requirements, it has not yet been added to the Constitution. To commemorate the100th anniversary of the ERA, Chaos Incarné commissioned #YESALLWOMEN. A reference tothe 2014 social media campaign of the same name, the piece explores the four waves offeminism in corresponding movements. The first movement recognizes the work of Alice Paul,
one of the four ERA authors and a main leader in the campaign for the Nineteenth Amendment.
In a ragtime style, the movement dances through the successes and hardships Alice faced withtwo distinct characters. The second weaves themes of the landmark text The Second Sex(1949) by Simone de Beauvoir. A twist on the traditionally feminine-coded waltz, the movement
is assertive and accents irregular beats. The third movement embodies the 1990s feminist punkmovement Riot Grrrl utilizing extended techniques and asymmetrical meter. The final movement
sings of the inequalities women are still facing today, and musically states the power ofsolidarity. It revisits themes of the first three movements, acknowledging the accomplishments ofwomen reformers since the first wave of feminism. #YESALLWOMEN is a call to continue
fighting for change so gender rights are protected in the Constitution and discrimination on thebasis of gender ceases to exist.
Chaos Incarné Trio
Adella Carlson, Julianna Pierdomenico, Taylor Stirm, bass clarinets

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From Darkness* for bass clarinet and fixed multimedia
I. Dark
II. RedIII. Halo
IV. Shadow
V. Light

Francisco Javier de Alba

Julia Lougheed, bass clarinet
Second New Waltz (2015)
Paisaje Folklórico No.2 (2017)
Sonata (2011)

Anderson Viana
Sebastián Tozzola
Jonathan Russell

Citlalli Rosas, bass clarinet
Gail Novak, piano*world premiere
From Darkness is a piece for bass clarinet soloist accompanied by audiovisual elements andtheatrical choreography. Its thematic content can be best summarized by this quote: “Onlywhen we are brave enough to explore the darkness will we discover the infinite power of ourlight.” - Brené Brown

Transient Canvas
Saturday January 7, 2:00-2:25 PM
PAC Auditorium
Fool Me Once
Tl;drRatyllBarbara White
Yaz Lancaster
Sid Richardson

Transient Canvas
Amy Advocat, bass clarinet and Matt Sharrock, marimba

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paper gates
Saturday January 7, 2:30-2:55 PM
PAC Auditorium
Poppy
Hope is a muscle
Dekum Blues
It just is
all compositions by Andy Rayborn
Andy Rayborn: bass clarinet, synthesizer, voice

Mike Lowenstern Masterclass
Saturday January 7, 3:00-3:55 PM
MU2 151 Recital Hall
Macey Campobello, US
Grab It! Jacob TV
Henry McNamara, US
Big Grenadilla, Evan Ziporyn
Taylor Barlow, US
Trip, Michael Lowenstern32

Recent Works for Solo Bass Clarinet
Saturday January 7, 4:00-4:25 PM
PAC Auditorium
Silhouettes
edge for bass clarinet electronics
Desperate Measures (2019)

Roydon Tse (b. 1991)
Christopher Mitchell (b. 1983)
Eric Mandat (b. 1957)

Jack Liang, bass clarinet
Jack Liang’s appearance is sponsored in part by Chedeville.

Corey Mackey
Saturday January 7, 4:30-4:55 PM
PAC Auditorium
Dance Suite*
I. Prelude: Grand Entry
II. Grass
III. Traditional Bustle
IV. Fancy Shawl
V. Traditional Shawl
VI. Fancy Feather
Paisaje Folklórico No. 2

Jacqueline Wilson (Yakama)(b. 1984)

Sebastian Tozzola (b. 1994)

Corey Mackey, bass clarinet
Sarah Elliot, piano*world premiere
Corey Mackey is sponsored by Buffet Crampon.
COMPOSER NOTES
Composed in 2021, Dance Suite is comprised of several unaccompanied evocative miniatures
centered on a specific theme. I was inspired by Benjamin Britten’s portrayals of Roman
33

mythological figures in his Six Metamorphoses after Ovid Op. 49 and was attracted to a
structure that lent itself equally to performances of the work in its entirety and of selectedmovements alone or in combination. Each movement of Dance Suite is inspired by one of thedance styles of the contemporary powwow dance complex. Powwows are social gatherings inwhich Native American people gather to dance, sing, and socialize. Though an event might behosted by a particular tribe, powwows are pan-tribal and can be attended by Natives and nonNatives alike. Though they contain spiritual elements, powwows are not ceremonies: they are atime to come together and celebrate Native culture as a community. Much like a county fair,
powwows have laughter, competitions, shopping, and food. There are several dance styles, fiveof which are depicted in this piece. All styles are accompanied by powwow song, a specificgenre comprised of a group of singers keeping the beat on a drum in unison. Each powwow
ensemble (called a “drum”) compose and own the songs that they perform. Accordingly, no
actual powwow songs or ceremonial music is used in this piece. Instead, I used thecharacteristic movements and origins of each dance as a point of inspirational departure on
which I wrote original themes.
I. Prelude: Grand Entry
The Grand Entry marks the beginning of the powwow where all the dancers enter the arena led
by a color guard of veterans. This movement explores the juxtaposition of the steady drum with
the intense expressivity of the voices singing.
II. Grass
The Grass Dance is a men’s style of war dance characterized by regalia featuring elaborate
fringe. The swishing of the fringe and flowing footwork serve as the primary inspiration for thismovement.
III. Men’s Traditional
In Men’s Traditional, imitations of game reflect the dance’s hunting and storytelling origins.
Though all ages can do Men’s Traditional, I wanted the reverent feeling of this movement toreflect the tendency for elders to dance this style.
IV. Fancy Shawl
Fancy Shawl is a women’s dance style in which elaborate shawls represent wings. I modeled thethemes of this movement after the graceful spins and hops of the dancers.
V. Women’s Traditional
This dance is defined by a controlled rhythmic bending of the legs. I wanted this movement tojuxtapose precision with tenderness to evoke maternal strength.

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VI. Fancy Feather
Men’s Fancy is an athletic style of dance where lightning-fast tempi accompany flips, spins, andcartwheels. In this movement, I wanted to honor the spectacular virtuosity that makes this myfavorite of all the powwow dance styles.

Festival Low Clarinet Choir Rehearsal
Saturday January 7, 5:00-6:00 PM
PAC Auditorium
Dr. Jason Caslor, conductor
Participants should bring their own music stand and plan on wearing black attire for the Saturday
evening concert. Click here for choir parts

Real Time Music for Bass Clarinet and Electronics: CANCELED DUE TOILLNESS
Saturday January 7, 6:00-6:25 PM
MU2 151 Recital Hall
“Real time music” for bass clarinet and live electronics by Oğuz Büyükberber*world premiere
Real time music is a collection of pieces of varying lengths utilizing Oğuz Büyükberber’s“spiral” pitch systems. It incorporates live processing and graphic scores.
This performance is made possible by the generous support of the Dutch Performing Arts Funds.
Oğuz Büyükberber is a Selmer Artist.
www.oguzbuyukberber.com

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Lara Díaz
Saturday January 7, 7:30-7:55 PM
PAC Auditorium
Islas: sólo es real la niebla* (2022)
Sergio Blardony
for bass clarinet, electronics and small portable devices and dedicated to Harry Sparnaay and to
José Luis de Delás. Based on a poem by Andrés Sánchez Robayn
Suite Popular Española^ (1914)
1. El paño moruno
2. Nana
3. Canción
4. Polo
5. Asturiana
6. Jota

Manuel de Falla. trans. Lara Díaz (2021)

Lara Díaz, bass clarinet
Gail Novak, piano
Program Notes:
I grew up listening to and playing Falla’s music, but I always wished he had written an originalcomposition for the clarinet as a solo instrument. The choice of the bass clarinet to develop thisversion is motivated by the unique expressive qualities of this instrument, as well as its very
extensive tessitura and the wide range of sound possibilities it offers. The different mood,phrasing, articulation and rhythm of the pieces, the range from low to altissimo register and theincomparable Spanish style make this work an excellent study material for those interested in
Manuel de Falla’s music.
“Islas: solo es real la niebla” ("Islands: the only thing that’s real is the fog") that is born withexpression of an impossibility. The distance is a metaphor for when you are subjected tosomething temporary (temporal mean temporary or seasons) and it turns impossible todetermine. I want to say that a lot of the time, we constantly take the same path and after, it canseem very different. The destiny can be long or short. The space in this relationship and time
make it unbreakable by being united with the music. From a perspective, it is nothing
ambiguous-and this is what connected my idea to work with islas (islands). The isolation of aplace surrounded by people. This generates different states of interpretation: The island is seenfrom far away but you can see it from up close.
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Andrés Sánchez Robayna writes- whose text from the book "Cuadernos de la isla" ("Book of theislands") is a huge inspiration for my composition and you can hear it through the electronics ofthe piece- “The island navigates through cosmos. The land itself is not but an island thatnavigates in the cosmos.” Therefore, we don’t find ourselves with something static, a portion of
the land in the sea, but also, under that same idea that nothing is calm- not even the most staticthat is attached to the earth- there are those who move continuously and generate a perspectivethat we cannot involve ourselves with.
In this case, my music serves to that movement, the movement that has recognizable trace ordetermined formally, at least that’s how I understood it. You can find the motive and structure
being similar throughout the work, but they are constantly changing. Even though it is minimal,
maybe it is a subtle modification. As the saying goes, it affects the path for the known but,without fail, when you pass the island again, you will find another path. When time makes us
take another path, it makes sense to go through again, and this definitely conforms to a new site.
This is how the music is traced: walking the same path filled (or surrounded) with islands, which
are the same islands but, in reality, they are other islands.
The work is also an homage to some for the two biggest personalities from the music of our time:
One is Harry Sparnaay- a bass clarinetist and a good friend of mine, who passed too early.
Another is my composition teacher: José Luis de Delás, whose work "Einladen" (for ensemble
and electronics) alludes to the islands through the canals of the city of Amsterdam, the citywhere Harry was born.
This work is dedicated to clarinetist, Lara Díaz. I have appreciated her commentary and the work
I have done with her.

Improbable Beasts
Saturday January 7, 8:05-8:35 PM
PAC Auditorium
We Are Broken*
Bass Clarinet Double Concerto

Jonathan Russell
Jonathan Russell

Amy Advocat, Jeff Anderle (guest), Celine Ferro, Stefanie Gardner (guest), Gary Gorczyca, Bill
Kirkley, Marguerite Levin, Rane Moore, Jonathan Russell, and Julie Stuckenschneider, bass
clarinets*world premiere^US premiere

37

Festival Low Clarinet Choir Concert
Saturday January 7, 8:45-9:20 PM
PAC Auditorium
Symphony No. *1
I. Allegro

Joseph Boulogne, Chevalier de Saint-Georges
arr. Sarah Watts

On G*

Jonathan Russell

Tu Vuò Fa’ L’Americano*

Renato Carosonearr. Lara Díaz

Pavane, pour une infant défunt*

Overture from The Marriage of Figaro

Maurice Ravelarr. Jason Alder
Wolfgang Amadeus Mozart
arr. Matt Johnston

Hot Dog (Milk) Dance*

Mike Himelesteinarr. Jason Alder
Dance and vocals by Joshua Gardner

Dr. Jason Caslor, conductor*world premiere; commissions made possible by the Reimagine Grant

38

Exhibits
Sunday January 8, 9:00 AM-4:00 PM
MU1 101, MU2 152 and PAC 144
ASAP: A Sensor Augmented Performance
Sunday January 8, 9:00-9:25 AM
PAC Auditorium
Intro (Black Fanfare)Walking
Wind
All pieces composed and produced and performed by Steven Henry, bass clarinet

Potpourri Recital
Sunday January 8, 9:30-9:55 AM
PAC Auditorium
Talk Back

Luke Ellard (b.1988)

Laissez-Pair:
Shiana Montanari and Katie Rice, bass clarinets
People of This Place (2016)
Jackie Glazier, bass clarinet

Felicity Wilcox

Talk Back Program Notes:
The piece is about banter with a bestie. In this context, talking back is the interjections like “omgyeah!” “no FOR REAL” and so on as someone is talking (LOTS of trading music back and forthand musical interjections). Sometimes it’s fun and shows that you’re present, sometimes it’sannoying. It’s also responding to serious issues as well. In the cadenza section that both parts
trade back and forth, it’s how we can respond with intention and care and match the tone when aconversation shifts. There are long build ups over and over which is like when someone is telling39

you a story (or a little gossip) and the anticipation builds or the story becomes more outlandish
over time.

Bass clarinet around Europe - Sweden, Hungary and England
Sunday January 8, 10:00-10:25 AM
MU2 151 Recital Hall
Monologue No. 3
Andante sostenuto
Allegro vivace

E.van Koch

Sonatina for bass clarinet solo
Allegretto
Rubato, con molto tranquillo
Allegro molto

Csaba Deak

Phantasy for bass clarinet and string quartet

York Bowen

Marta Kania, bass clarinet
Eva Dove, violin
Emilio Vazquez, violin
Grace Wills, viola
Yeil Park, celloCsaba Deak - Hungarian-born Swedish composer born in Budapest on April 16, 1932. Hestudied clarinet and composition at the Bela Bartok Cons, in Budapest (1949–55) andcomposition with Ferenc Farkas at the Budapest Academy of Music (1955–56), andsubsequently went to Sweden, where he took composition lessons with Hilding Rosenberg. He
also studied composition, clarinet, and conducting at the Ingesund School of Music in Arvika,
and received his music teacher’s certification from the Stockholm Müsikhogskolan (1969). He
taught at the Swedish State School of the Dance in Stockholm (from 1969) and at the Univ.
of Goteborg (1971–74).
In a sonatine, he describes a stay in a prison in Hungary. Each movement has a different
character and each part of a different stage of his imprisonment. First movement is his time in
jail. Then, the tristesse in his little cell came, but nothing happened. That's the second movement.
After he was released from jail and came to the freedom in Sweden, he is so
happy at the end and dances. That's the third movement.

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E.van Koch – Born in Stockholm, Erland von Koch studied at the Stockholm
Conservatory from 1931 to 1935 and subsequently passed the advanced choirmasterand organist examinations. Between 1936 and 1938, he lived in Germany and France inorder to pursue studies in composition with Paul Höffer, conducting with Clemens Krauss,and studying piano with Claudio Arrau. Later, he took private classes with Tor Mann in Sweden.
Teaching at the Karl Wohlfarts Musikschule from 1939 to 1945, von Koch also spent the final
two years of this period working as a sound expert and choirmaster for radio broadcasting.
He composed much music for the Swedish film industry. From 1953 to 1975, he was
lecturer in harmony at the Stockholm Conservatory, where he was appointed a professor in 1968.
Von Koch became a member of the Royal Swedish Academy of Music in 1957. He hasreceived numerous other honors and prizes at both national and international levels for hiscompositions. He has written six symphonies (of which the fifth, Lapponica, is dedicated to
the Sami people), twelve Scandinavian Dances, one opera (Pelle Svanslös), and five ballets,
as well as music for wind orchestra.
Even in his nineties, he composed/studied every day. His works can be described as
uncomplicated and his motto was always to "keep the melody." Monologue no. 3 permeated byinspiration from Swedish folk music, melodies and rhythmic vitality.
York Bowen - Born in Crouch Hill London in 1884, he received his first piano andharmony lessons from his mother and after they became aware of his remarkable talent, his
parents enrolled him at the North Metropolitan College of Music. He made rapid progress
and at the age of eight, was the soloist in a performance of Dussek's piano concerto. He went
on to study at the Blackheath Conservatoire. At the age of fourteen, he won the Erard
Scholarship to The Royal Academy of Music, where he studied piano. He also became anaccomplished organist, viola and horn player.
At only 19 years old, he was invited to play his First Piano Concerto at the Proms under Henry
Wood. At the age of 23, he was elected a Fellow of the Royal Academy of Music and at the ageof 25, became a Professor. Bowen's compositions each display a unique ‘blend of Romanticism
and strong individuality’. Although his influences include Rachmaninoff, Medtner, Chopin,
Grieg and Tchaikovsky, Bowen's music is very much defined by its distinctive
textures and harmonies. Although his active career spanned more than fifty years, Bowen's
compositional style altered very little and he continued to employ a diatonic key system withuse of chromatic harmonies throughout his life.

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Phantasy - First piece written for bass clarinet and string quartet and is the first chamber
ensemble work to fully display all aspects of the bass clarinet's capabilities andcharacteristics. This piece was composed in a style influenced by the English impressionist.

Shadowsounds and Dancing
Sunday January 8, 10:30-10:55 AM
PAC Auditorium...van horen zingen... (2020)
Riassunto (2014)
Schattenklänge (1995)

Guus Janssen (NL)
Ig Henneman (NL)
Mauricio Kagel (D)...van horen zingen... (...hearsing...) is dedicated to Fie Schouten as a present to dispel thesilence in the spring of 2020 due to the roaming virus. The piece is like a palimpsest: First, there
was the song Cherokee by Ray Noble, on top of it the line Marshmallow by Warne Marsh, andthen my piece that drifts further away from the original. The performer has to count out thesilences, which should sound as the breaks that a blackbird incorporates in his song.
‘Riassunto’ is dedicated to Fie Schouten and is based on Henneman’s longer bass clarinet solo
‘Sottosuolo’ (1990) known as a playful, virtuoso composition with rhythmically ever changing
lines interrupted by floundering and tottering swipes. For more than thirty years, the bass clarinet
and his musicians have played an important role in Henneman’s work as a composer, as abandleader, and as an improviser on viola. The colors, the enormous variety in dynamics, the big
register of the instrument, and the open character of the players are attractive aspects for her towork with.
Schattenklänge (shadow sounds) is dedicated to Harry Sparnaay and consists of threemovements. Mauricio Kagel was born in Argentina and moved later to Germany permanently.
Fantasy, humour and originality are the main peculiarities of his works. Kagel became one of themost significant authors in Musical and Contemporary Theatre.
Fie Schouten, basset horn and bass clarinet

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Je Reilly: CANCELED DUE TO ILLNESS
Sunday January 8, 11:00-11:25 AM
PAC Auditorium
The Canadian bass clarinetist Jeff Reilly has had considerable success developing repertoire forthe unique combination of bass clarinet and chamber choir. In this seminar, he will present 3
different award-winning works he has commissioned from his dear friend and regularcollaborator Peter-Anthony Togni. By performing excerpts live, playing recordings andreviewing scores, you will have the chance to get to know these groundbreaking works, whichhave received international acclaim and representation on recordings labels such as ECM
records.
All works by Peter-Anthony Togni, with improvisations by Jeff Reilly:
The Lamentations of Jeremiah (ECM 2129) Jeff Reilly bass clarinet, recorded with the Elmer
Iseler Singers conducted by Lydia Adams.
Responsio (Atma Classique, Montreal 2731) A response to Guiliaume de Machaut’s Messe deNostre Dame Jeff Reilly bass clarinet, recorded with the vocal quartet of Charles Daniels, John
Potter, Suzie Leblanc and Andrea Ludwig
Voice of the Weaver (premiered July 2022, recording TBA) Jeff Reilly bass clarinet, with the
Elora Singers conducted by Mark Vuorinen

Desert Breath
Sunday January 8, 11:30-11:55 AM
PAC Auditorium
Amorphous Aggregate

Jessie Demaree

Jessie Demaree, bass clarinet and vocals
Kate Bivona, violin
Jordan Tompkins, sequencer, engineer

43Dedicated Exhibit Time/Lunch
Sunday January 8, 12:00-1:00 PM
MU1 101, MU2 152 and PAC 144
Food Trucks in front of the Student Union (SU) 11:00 AM - 5:00 PM
The Basset Horn: Old and New
Sunday January 8, 1:00-1:25 PM
MU2 151 Recital Hall
Basset Horn Sonata in F Major, op. 62
II. Larghetto sostenuto
III. Allegretto

Franz Danzi (1763-1826)

In Memoriam (2005)
I. In Flanders Fields
II. In Flanders Fields: An Answer

Howard Buss (b. 1951)

Keith Koons, basset horn
Gail Novak, piano
In Memoriam – Program Notes
In Memoriam for horn and piano is a sonic tribute to the millions of soldiers who have made theultimate sacrifice in time of war. This engaging composition was written for hornist Pamela Titus
during the Fall of 2005 at a time when the United States marked the 2000th death of a US soldierin Iraq during the Second Gulf War. The music is loosely programmatic. The two movements
reflect the sentiments of the poems In Flanders Fields by John McCrae and In Flanders Fields(An Answer) by C.B. Galbreath. Both of these poems were penned in response to “The War to
End All Wars”, World War I, but their convictions are timeless and certainly apply to the war in
Iraq. In 2015, In Memoriam was adapted for basset horn and piano in consultation with basset
hornist Keith Koons.

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In Flanders Fields - John McCrae (1872-1918)
In Flanders fields the poppies blow
Between the crosses, row on row,
That mark our place; and in the sky
The larks, still bravely singing, fly
Scarce heard amid the guns below.
We are the Dead. Short days ago
We lived, felt dawn, saw sunset glow,
Loved and were loved, and now we lie
In Flanders fields.
Take up our quarrel with the foe:
To you from failing hands we throw
The torch; be yours to hold it high.
If ye break faith with us who die
We shall not sleep, though poppies grow
In Flanders fields.
In Flanders Fields (An Answer) - C.B. Galbreath (1858-1934)
In Flanders Field the cannon boom,
And fitful flashes light the gloom,
While up above; like eagles, fly
The fierce destroyers in the sky;With stains, the earth wherein you lie,
Is redder than the poppy bloom,
In Flanders Field.
Sleep on, ye brave, the shrieking shell,
The quaking trench, the startled yell,
The fury of the battle hell,
Shall wake you not, for all is well.
Sleep peacefully, for all is well.
Your flaming torch aloft we bear,
With burning heart, an oath we swear
To keep the faith, to fight it through,To crush the foe, or sleep with you,In Flanders Field.

45

About the Composer
Howard J. Buss (b. 1951) is recognized internationally as a composer of contemporary classicalmusic. His compositions have received critical acclaim and have been performed in more than 50
countries. His music is widely performed and frequently featured at national and internationalmusic conventions and festivals. Faculty musicians from major universities as well as current
and former members of prestigious organizations such as The Boston Symphony Orchestra,
Minnesota Orchestra, Buffalo Philharmonic, Israel Philharmonic, Berlin Philharmonic,
Vancouver Symphony, Atlanta Symphony, New York Philharmonic, Chicago Symphony, etc
have performed them. Buss’ more than 160 published works include instrumental solos, chambermusic, symphonic, choral, and band works. The legendary Leon Russianoff described Dr. Buss’style as “imaginative, sincere, rewarding to both performers and audiences, and without thegimmickry which is so prevalent in contemporary music today.” Upon hearing, his music critics
have written: “By far the night’s most memorable piece” - The Los Angeles Times, “This is truly
one of the finest works in our idiom” - Robert McCormick in the Florida Percussive News, and“The evening’s highlight” - The Maine Sunday Telegram. Buss has received numerous awards
and his commissioned works include original compositions as well as arrangements. His works
are frequently selected to be included and analyzed in doctoral dissertations, lectures,professional music journals, and music literature bibliographies, and his compositions have beenrecorded on the Albany, Bottega Discantica (Italy), Crystal, Capstone, DUX (Poland),Equilibrium, HoneyRock, IBS Classical (Spain), PL Productions, Ravello (PARMA),
SoundView, and C. Alan Publications labels. Howard J. Buss received his B.A. in Applied Music
from West Chester University, M.M. in Performance and M.M. in Composition from Michigan
State University, and D.M.A. in Composition from the University of Illinois. He is the founderand editor of Brixton Publications (ASCAP) and Buss Publications (BMI), which publish
contemporary American concert music.

46

Rock Inspired Music for Bass Clarinet and Electronics
Sunday January 8, 1:30-1:55 PM
MU2 151 Recital Hall
Variations on Themes of Black Sabbath
War Pigs
Children of the Sea
Iron Man
Shadows Blue and Red

Lori Ardovino (b. 1960)

Christopher Gable (b. 1968)

Jeremy Wohletz, bass clarinet
Gail Novak, piano

Potpourri Recital
Sunday January 8, 2:00-2:55 PM
PAC Auditorium
Jackdaw for bass clarinet and computer

Wayne Siegel (b. 1953)

Anthony Costa, bass clarinet
with support from Buffet Crampon USA and Penn State University
Jackdaw for bass clarinet and computer was commissioned by Harry Sparnaay with financial
support from the Danish Art Council and premiered at the Musiana 95 festival in Denmark. A
jackdaw is a small, European crow, and the character of the piece as well as many of the sounds
are inspired by this audacious yet clever bird. Since I have a tame, pet jackdaw, I was able torecord the bird under perfect conditions. Many of the sounds played by the computer consist ofthese recordings processed by the computer, such as jackdaw cries filtered by the formant of abass clarinet or long bird calls stretched to 10 times their original length using the phase
vocoder. Bass clarinet sounds sampled and processed by the computer and computer
controlled live processing that change the sound of the instrument during performance are also
used. As the composition progressed my hunch was confirmed: the jackdaw and the bass
clarinet are related! -Wayne Siegel
Gannetry (2021)*

Emily Doolittle (b. 1972)
47

Parabola Vertex (2022)*

Derek Charke (b. 1974)

Eileen Walsh, bass clarinet
Gail Novak, piano
The Blues Ranger
Flowers of St. Francis

Josh Oxford (2014)
Daniel Dorff (2013)

Tim Haas, bass clarinet
Gannetry is a graphically notated work for clarinet and electronics, based on the sound world of
a gannet colony. I'm fascinated by the rich interweaving of guttural sounds as tens of thousandsof gannets nest, spar, soar, and dive. This piece was composed in tandem with Dawn Wood's
writing of her poem Gannet Rock, with my ideas for the piece helping shape her poem, and viceversa. Piece and poem can be performed separately, or interwoven in performance. Gannetry
was commissioned by Ruta Vitkauskaite and the Modern Chants project for clarinetist Jo
Nicholson, with funding from Creative Scotland. -Emily Doolitte, 2022
GANNET ROCK
Fate whispers to the warrior, ‘you cannot withstand this storm’ and the warrior whispers back, ‘I
am the storm’Maybe at birth, I was a boat setting sailon the sea of the waves that happen to me
or maybe I was the wave itself,connected with all the water there is,and I could aim for that rock, over there
and see what the weather brings my way.
There used to be shamans who worked with the wind,they’d carefully gather it into knots
and you could pay them for a string
and you’d undo the knots, at sea,
to brace yourself, to get your breathon the crest of a wave of the shocking nervethat you’ll withstand, you are the wave,
you tell yourself that there’s no harm48

in the unexpectedness of rain,
though the randomness of where and whena drop might fall has been describedin an equation, here and there,
since nothing ever comes from nowhere
and there’s no sound without a source –the circling seabirds contain the proof,
the way that knot could store the wind,
the puffins and the cormorants,
the Leach’s petrels, herring gulls,
the fulmars, all fulfill the energy
invested and released in them;but gimlet eyes make up the rockwhere clacking, prehistoric beaks
of gannets guard their modicum of space,
before they plunge through you, the wave.
-Dawn Wood, 2021

Potpourri Recital
Sunday January 8, 3:00-3:55 PM
MU2 151 Recital Hall
By the Pricking of My Thumbs for bass clarinet and piano*
I. Followed
II. Nightmare
III. Clown

Jaren Hinckley (b. 1968)

Jaren Hinckley, bass clarinet
Vincent Humphries, piano
Manic Pixie Dream
Larkin Sanders, bass clarinet

Larkin Sanders

49

Program Notes:
By the Pricking of My Thumbs: The title of this piece comes from Act IV, scene I of Macbeth, by
William Shakespeare. One of the three witches, huddled over a cauldron, speaks the lines: “By
the pricking of my thumbs, something wicked this way comes…” I first heard this line in the1983 film Something Wicked This Way Comes. From that point on, any time I hear “By the
pricking of my thumbs…” I know something spooky is about to happen. This piece explores
three types of “fears.”First Movement: Followed
Numerous horror films feature relentless stalkers who always seem to appear under a streetlightas the main character is walking home. This movement attempts to capture the experience, fears,
and feelings of being followed.
Second Movement: Nightmare
When I was very young, I had a recurring nightmare which consisted of three alternating visuals:
a blazing sun, a ticking stopwatch, and me with a burning fever. In the dream, I knew that when
the clock finished counting down, I would die. This movement depicts the ticking stopwatch, theblazing sun, and the feverish fears.
Third Movement: Clown
With apologies to anyone in (or who have loved ones in) the clowning profession, I find clowns
unsettling on many levels. Hope you feel the same as you listen to this movement.

Potpourri Recital
Sunday January 8, 4:00-4:55 PM
PAC Auditorium"Argentina andina y diversa " [ Andean and diverse Argentina ]Tata para clarinete bajo
Jorge Diego Vazquez Salvagno
Los términos quechuas “tara” y “q’iwa” como dualidad de la Cosmovisión de la Cultura Andina,puede hace referencia también a diferentes cualidades tímbricas. Por lo tanto, «tara» se asocia a
un sonido ronco, vibrante y lleno de energía, mientras que «q’iwa» es un sonido claro, delgado yrelativamente débil. Esta visión dual bastante singular es uno de los pensamientos principales
que inspiraron esta pieza para clarinete bajo. Se exploró técnicamente el instrumento según losdos tipos de sonoridades, así también como las diferentes posibilidades combinatorias que
revelen el fenómeno dialéctico «tara» y «q’iwa».

50

Nanay para clarinete bajo solo
Víctor César Vilte
Me formé musicalmente siguiendo la línea de la herencia europea, en una región del país dondelas raíces nativas aún viven y se manifiestan a diario. Esto nos lega un aprendizaje empírico queyace en la música tradicional de la región, conocimiento adquirido muchas veces de forma
inconsciente pero que resulta una fuente determinante a la hora de componer. Es idea realizar una
composición para clarinete bajo solo, integrando en su concepción musical recursos de técnica
extendida del clarinete bajo con elementos de la música nativa, abordando una exploración
sonora en la combinación de materiales de la música regional originaria y la música de estética
contemporánea, de esta manera generar una música basada en la filosofía, técnica y reflexión
sobre el arte nativo, la música del altiplano, junto con el saber teórico heredado de la tradición
musical europea. Para esta ocasión he tomado como fuente de inspiración versos seleccionadosde Elegía a la muerte de Atahualpa publicada por primera vez por José María Farfán (1942) ytranscripta por José María Arguedas (1955), en los cuales se basará la pieza.
Y el río se llevó el recuerdo para clarinete bajo (2022)
Horace Bravo
Esta obra está compuesta bajo las ideas de exposición, repetición, elaboración y“desvanecimiento” de los materiales sonoros elegidos para crear esta pieza. Aproveché
laductilidad de las dinámicas y las articulaciones que posee el clarinete bajo e intenté lograr
cierta “espacialidad” para recrear un juego entre la cercanía y la lejanía de los materiales sonoros
que al mismo tiempo se van desarrollando en el tiempo hasta su desaparición.
Maria Juliana Silvia, bass clarinet
The Castle of Dr. Bassclar for bass clarinet and piano
Three Comic Scenes for bass clarinet and piano*
I. Entrada
II. Interludio
III.
Final

Ferrer Ferran
Cristian Vallejo

Gonzalo Quintero Florez, bass clarinet
Gail Novak, piano*world premiere
The Castle of Dr. Bassclar is a composition inspired by the novel written by Robert Louis
Stevenson entitled “The Strange Case of Dr. Jekyll and Mr. Hyde” and first published in51

1886, which is about a lawyer, Gabriel John Utterson, who investigates the strange relationshipbetween his old friend, Dr. Henry Jekyll, and the misanthrope Edward Hyde. The book is known
for being a vivid representation of a psychiatric disorder that causes the same person to have two
or more identities or personalities with characteristics that are opposite to each other. In thiswork, he will be the Bass Clarinet soloist who, with his interpretive skills, will play therole of the doctor who with his two faces will run both characters.
An attractive, complex composition for the soloist, where apart from demonstrating his
virtuosity and mastery of the bass clarinet, he will also have to show his artistic skills intheatrical performance, where the whole stage will be confident of what is going to happen
there.

52

Biographies
Dr. Jason Alder is a low clarinet specialist andresearcher. He is well-established as an improviser andperformer of contemporary music and works withcomposers to develop and premiere new pieces forclarinets of all sizes. He is often found performing or
lecturing at international festivals. Jason completed his
PhD at the Royal Northern College of Music (UK) withhis thesis “Compendium of Sonic Possibilities of theContrabass Clarinet: A Study of Cross-Compatibility
and Composer Collaboration”. His newest album“Milieu Interieur” contains solo works for clarinet, bass
clarinet, and contrabass clarinet written by Thanos
Chrysakis, and he was recently a featured soloist on thesoundtrack for the Paramount film “Spell” and BBC
drama “Ridley Road”. Jason is the author of thewidely-used quarter-tone and altissimo fingering chartsfor soprano, bass, and contrabass clarinets and an
endorsing Artist for Selmer clarinets, D'Addario reeds,
Behn mouthpieces, and Silverstein ligatures.
A versatile musician, Victor Alibert performs invarious styles going from symphonic concerts with the
Orchestre de l'Agora, eastern european music with
Magillah, to contemporary chamber music with theParamirabo Ensemble. He studied the bass clarinet withAndre Moisan (Montreal Symphony), Philippe- Olivier
Devaux (Orchestre de Paris) and Stephane Kwiatek(Orchestre de Bordeaux). With social projects at heart,
Victor frequently performs in venues like shelters,
hospitals, psychiatric institutes and prison. He has beenteaching clarinet since 2013, and has been invited toteach masterclasses at the Domaine Forget (QC) andthe Waterloo Region Contemporary Music Session(ON) with the Paramirabo Ensemble. Victor Alibert isalso the winner of the Concerto Competition at the
University of Montreal (2013); winner of the show of
the year for À Chaque Ventre Son Monstre (Prix Opus2019); Performer of the year (Prix Opus 2020);
Nominee for Alone and Unalone – Classical music
Album of the year (JUNOS 2020), and nominee withBelle Grand Fille for the album Nos Maisons (ADISC
2021).

53

Jeff Anderle is a pioneer in the world of low
reeds, helping to popularize the role of the modern
clarinet and bass clarinet through his innovativeand diverse performances, ensembles, andcommissions. He is the bass clarinetist in SplinterReeds and half of the bass clarinet duo Sqwonk,
as well as a member of the San Francisco
Contemporary Music Players and a former
member of the heavy metal bass clarinet quartet
Edmund Welles. He makes regular appearanceswith a wide range of music institutions fromorchestras to diverse chamber music ensembles
and has commissioned or premiered over 200
works. Jeff is chair of the woodwind department
at the San Francisco Conservatory of Music where
he teaches clarinet, chamber music andentrepreneurship. He is a Selmer Paris performing
artist.

Matthew Banks is a Dallas based clarinetist,saxophonist, bassoonist, oboist, arranger, andeducator. A native Texan, Matthew holds a
Masters in Music Performance in Multiple
Woodwinds
from
Texas
A&M
University-Commerce and a Bachelor of Sciencein Music from the University of Evansville insouthern Indiana. While Matthew plays all genresof music professionally, he specializes in early
jazz, often playing on instruments a hundred years
old or more to evoke the sound of the era.
Matthew discovered the alto clarinet his freshman
year of college when a band director
unceremoniously told him he'd be playing the
instrument for Lincolnshire Posy and has been inlove with the bizarre horn ever since.

54

Timothy Bonenfant is Professor of Single Reeds
at Angelo State University. He is a member of The
Mesquite Trio, The Batik Quartet, and the West
Texas Jazz Orchestra. He holds three degrees fromthe University of Nevada, Las Vegas, and amaster’s degree from California Institute of theArts. Bonenfant has premiered over seventy
works, including Virko Baley's Partita No. 4 forclarinets and piano, and Stephen Emmons’Seaside and States of Mind, and as one of theperformers on the world premiere performance of
Arthur Gottschlak’s The Electric Pocket Rocket
Boogaloo for bass clarinet ensemble. Bonenfant’ssolo album, Multiple Personae, features music by
Virko Baley. The Clarinet, the journal of theInternational Clarinet Association, said of thisalbum “Throughout this recording, Bonenfant
displays his virtuosity performing almost theentire family of clarinets.”

Melanie Bourassa was rewarded with « GrandeDistinction » from Quebec Music Conservatory,
then she went to study in Switzerland and in
Chicago. Mélanie is a teacher at Laval University
as well as Cegep de Ste-Foy. She is the
co-foundator of the Canadian Bass Clarinet
Association, www.accb.ca , with André Moisan.
She plays with many ensembles such as theQuebec Symphony Orchestra, the Montreal
Symphony Orchestra, les Violons du Roy and theOrchestre Metropolitain du Grand Montréal. She
regulary plays all around Canada and the UnitedStates. She was invited as a soloist for Clarinet
Fest 2018-2019 and 2022. Mélanie won grants
from Quebec Art Concil, Domaine Forget andAFM. She obtained the first place at Concours demusique du Canada in chamber music and she
won an Opus Prize in 2015, an ADISQ in 2018,
and won the second place at Italian Online
Clarinet Competition in 2020.

55

Amsterdam
basedclarinetist/composerOğuz
Büyükberber's
style
mergescontemporarycomposition, jazz and influences from his Turkish
background. His body of work includes over 50 CDs
including releases on ECM and Blue Note, a detailed
method book explaining his own improvisational
systems, published by Donemus, and his compositions
for ensemble music, electro-acoustic and audio-visualsettings. He received commissions to write music for
Dresdner Sinfoniker, Kairos String Quartet, DKBB,Marc Sinan Company, Spinifex Orchestra, AXYZ
Ensemble, Basklarinetfestijn!, Duo-X, STEIM and
Karnatic Lab Festival. He studied bass clarinet with
Harry Sparnaay at Amsterdam Conservatory and took
composition lessons from Theo Loevendie. Also
holding another degree in fine arts, he incorporates his
own visual art in his music work. Composing and
Improvising in a cutting edge avant-garde setting iswhere he feels most at home. Be it all acoustic, allelectronic or anything in between.

Dr. Jason Caslor is an associate professor of music
and director of bands at Arizona State University. In
addition to directing the wind ensemble, he also
mentors graduate conducting students, and teaches
undergraduate and graduate conducting courses. An
educational clinician for Conn-Selmer, Caslor has
conducted the National Youth Band of Canada, theSouth Dakota All State Band, the South Dakota
Intercollegiate Band, and the Alberta Wind Symphony.
As a researcher, he has presented his work at theMidwest Band and Orchestra Clinic, the WASBE
International Conference, and the CBDNA National
Conference. Caslor completed his doctorate in
conducting at Arizona State University. Prior to earninga master's in conducting from the University of
Manitoba, he earned dual bachelor's in music andeducation from the University of Saskatchewan,
Canada.

56

Chaos Incarné exists to commission and performmusic for clarinet trio and to champion the workof underrepresented composers, especiallywomen. Composed of Adella Carlson, Julianna
Pierdomenico, and Taylor Stirm, Chaos Incarnéseeks to collaborate with and uplift the voices ofthese composers and make this repertoire more
widely available to the larger clarinet community.
Carlson is an active educator and proponent ofmusicians' wellness, with a full studio of clarinet,
piano, and yoga students. Pierdomenico is active
in research and performance of works by latenineteenth and early twentieth century womenmusicians. Stirm specializes in twentieth century
and contemporary solo performance. All are
current MM candidates at UNC Greensboro.
Anthony J. Costa is Associate Professor of Clarinet at
Penn State and clarinetist with the Pennsylvania
Quintet and Prestige Clarinet Quartet. He currently
serves as principal clarinet with the Pennsylvania
Chamber Orchestra and Penn’s Woods Music Festival
Orchestra, and is an artist-clinician for the
Buffet-Crampon Corp. Costa served as clarinetist/bass
clarinetist with the Dayton Philharmonic (OH) from1999-2011 and has been a frequent featured performer
at the International Clarinet Association’s ClarinetFest,International Double Reed Society’s conference, andthe Oklahoma Clarinet Symposium. Recent solo
performances include: Aaron Copland’s Clarinet
Concerto with the Pennsylvania Chamber Orchestra,
Carter Pann’s Double Concerto with PSU’s SymphonicWind Ensemble; and C. M. von Weber’s Concerto No.
1 with the Nittany Valley Symphony (PA).

https://sites.psu.edu/clarinet/

57

Kim Davenport has been working as a professionalmusician since her teen years, with extensive work as acollaborative artist. As a performer, she is primarily
interested in new and under-represented works. Her
primary focus in recent years has been to perform andrecord solo and chamber works of African Americancomposers, most notably her 2022 album featuring
Samuel Coleridge-Taylor’s complete Twenty-Four
Negro Melodies, Op.59.
Kim is active in the vibrant musical community of
Tacoma, Washington, where she maintains a private
piano studio, teaches at both the University ofWashington Tacoma and the University of Puget
Sound, and performs regularly around the city. She isespecially interested in drawing connections between
her life as a musician and her more academic research
and writing interests. She is a published scholar of local
history, with a focus on Tacoma’s musical past. Her
textbook for use in non-major music classes, “Learning
to Listen,” is forthcoming in Autumn 2023.
She was active for nearly 20 years in the criticallyacclaimed Duo Alea, the bass clarinet/piano duo sheformed with her father, Michael Davenport. The Duo’s
performances and recordings brought local and world
premieres of several important works for bass clarinet& piano. The Duo were also active in music
publishing, forming the independent firm Alea
Publishing & Recording in 1997 to produce their own
recordings and establish a growing catalog of sheetmusic for the bass clarinet. In 2020, following her
father’s passing, Kim established the Dolphy Prize for
new works for bass clarinet by black composers.

58Dr. Kristen Denny-Chambers, clarinetist,
teacher, composer, and founder of Clarinet
Playground, has performed as a freelance,chamber and orchestral clarinetist in several
venues including the Ameropa Chamber Music
Festival in Prague, the Fort Smith Symphony,
Wyoming Symphony, Longmont Symphony,
Colorado Light Opera and the Tulsa Symphony.
Having no formal compositional training, Kristen
wrote a clarinet exercise book called "Prep Steps
Before You Kroepsch" in 2016 with the goal ofbridging the gap between high school andcollege-level clarinet methods. A few years later,
Kristen began writing the "Finger Fitness Études"
series and has also been writing solo andensemble pieces for all clarinets. There are plans
for many more books and pieces to come. Dr.
Denny-Chambers holds degrees from the
University of Tulsa, the University of
Nebraska-Lincoln, and the University ofColorado-Boulder. Kristen’s primary clarinet
teachers include Shannon Scott, Diane Barger, andDaniel Silver.

59

Desert Breath formed in 2019 as an avenue toelaborate on Jessie Demaree’s experimental andmore intimate musical tastes. Jessie Demaree ismore well-known as the founder and clarinetist in
the ten-piece Psychedelic Klezmer Funk band,
Jerusafunk, however Desert Breath has beenleading the path for experiences in alternative
venues throughout Arizona and in her hometownof Phoenix. Desert Breath’s amorphic members isdue in part to the compositions that Jessie curates
or composes. There have been solo performancesin the desert, and performances with up to twenty
players in an art house. A graduate from Northern
Arizona University, Jessie has used her skills as amusician, as well as a linguist and educator, totravel many countries and immerse herself in theapplications of clarinet and bass clarinet
throughout the world.

Miles DeCastro is the instrument repair
technician at The Crane School of Music, SUNY
Potsdam, where he teaches courses in instrument
repair technology, co-hosts the Potsdam Clarinet
Summit, and is responsible for the repairs,
maintenance, and inventory of over 1,200
instruments. He also owns and operates NorthCountry Winds, a clarinet specialty shop.
Miles is currently in his third term as president of
the National Association of Professional Band
Instrument Repair Technicians (NAPBIRT). As afrequent clinician, he has presented repair clinics
in 15 states and three continents. Prof. DeCastro
holds a certificate in Band Instrument Repair
Technology from Renton Technical College, adegree in Music Education from Mansfield
University, and an MBA from Clarkson
University. He is a Straubinger Certified
Technician, Yamaha Certified Sales Professional,
graduate of the Yamaha Service Advantage
Program, and has studied clarinet repair anddesign with Morrie
Backun.

60

Ros Dunlop is an Australia's bass clarinetist. She
has been a strong advocate of new music forclarinet/bass clarinet all her professional life andcommissioned and premiered many Australianand International Composers works. As a recitalist
Ros has performed throughout Australia, New
Zealand , USA, Canada, the UK, Europe, Japan,
Hong Kong and East Timor. She has performed inmany festivals Nationally and Internationally. Her
solo CDs have received International acclaim. She
collaborated with Australian composer Martin
Wesley-Smith on a large number of multimedia
compositions for clarinet and bass clarinet
focusing on human rights issues, these pieces can
be
found
on
her
youtubechannelhttps://www.youtube.com/channel/UCchwTS-em
TG_jsebsQ51TRg.

As agents of new repertoire, Égide Duo’s mission
is to encourage music that addresses socialchange,including issues involving theenvironment/climate, animal and human rights,
and equality. They aim to provide clear andpointed musical commentary on issues that affectour society today and tomorrow in an effort todraw attention to and encourage active public
engagement on such issues. Joshua and Stefanie
Gardner have commissioned works by Gabriel
José Bolaños Chamorro, Eric Mandat, Kurt
Mehlenbacher, Alyssa Morris, Jon Russell, Carlos
Simon, John Steinmetz, Alex Temple, and others
dedicated to affecting social change throughmusic.

61

Kimberly Fullerton is currently pursuing theDoctor of Musical Arts degree in clarinet
performance at Arizona State University. She
received the Master of Music degree in clarinet
performanceatthe
UniversityofWisconsin-Madison, and the Bachelor of Music
degree in clarinet performance at Idaho State
University. Kimberly specializes in all membersof the clarinet family, including bass clarinet,basset horn, and contrabass clarinet. For her final
DMA project, she commissioned and recorded
five new works for the contrabass clarinet. Herprincipal teachers include Robert Spring, Joshua
Gardner, Linda Bartley, Shandra Helman, andJohn Masserini. In addition to her graduate
studies, Kimberly maintains a private teachingstudio and currently plays Contrabass Clarinet for
the Tempe Winds. In 2020, Kimberly Fullerton
and her former teacher, Shandra Helman of Idaho
State University, formed the ensemble Duo ZIDA
for the sole purpose of contributing to the bass
clarinet duo repertoire.
Lara Díaz is an active Spanish clarinetist andbass clarinet soloist. She has performed at major
festivals worldwide, both as a soloist, with Trio
Contrastes and the Formica’s Age Duo (violin andbass clarinet). She acts as a jury at international
clarinet and bass clarinet competitions.
She is a professor in Salamanca and leads“Antonio Romero” clarinet and bass clarinet
masterclasses since 2003. Lara is the Spain
country chair for the ICA and board member ofthe European Clarinet Association.
She has recently published the transcription forbass clarinet of Manuel de Falla’s Suite popular
española in Manuel de Falla ediciones.

62

Hailed for her “robust playing and virtuosic
performance” (San Diego Tribune) and “beautiful
and clear tone” (The Clarinet Magazine), Jackie
Glazier is an active soloist, chamber musician,orchestral clarinetist, pedagogue, and advocate of
new music. As assistant professor of clarinet at the
University of Arizona Fred Fox School of Music,
Glazier is a committed pedagogue and mentor to
future generations of clarinetists.
As a soloist and a founding member of thesaxophone / clarinet ensemble Duo Entre-Nous,
Glazier is active in commissioning andperforming new music. Glazier is featured on
several albums, and has recorded for Naxos,
Centaur, Toccata Classics, New World Records,
Mark Records, Equilibrium, and Navona Records.
She has earned degrees from Cincinnati
College-Conservatory of Music, University of
Florida, and Florida State University. She is a
Buffet-Crampon and Vandoren Artist.
Dr. Stefanie Harger Gardner teaches at
Glendale Community College (AZ) and performs
with the internationally recognized Paradise
Winds, grant-winning Égide Duo, Arizona Opera,
the Phoenix Symphony, Red Rocks ChamberMusic Festival, and the Seventh Roadrunner
Ensemble. Gardner has performed in concert with
PitBull, Ceelo, Tony Orlando, Reba McEntire,
Michael Bolton, David and Katherine McPhee
Foster, Jordin Sparks, Weird Al Yankovic,
Hanson, and The Who. Her chamber music
albums are recorded on the Soundset label and canbe heard on iTunes, Spotify, and YouTube.
Gardner is a Silverstein Pro Team Performing
Artist, Henri Selmer Paris and Conn-Selmer
Performing Artist and performs on Privilege
clarinets, and Selmer mouthpieces.

63Dr. Joshua Gardner is Clinical Associate
Professor of Music and Director of the
Performance Physiology Research Laboratory at
Arizona State University, where he has taught
since 2011. He performs regularly with several
chamber ensembles, including the internationallyrecognized Paradise Winds Reed Quintet andÉgide Duo. Gardner won first prize at theInternational Clarinet Association ResearchCompetition in 2008 and has presented lectures on
tongue motion during clarinet performancethroughout the US, often accompanied by live
tongue imaging. He is also a member of theinterdisciplinary
ASU
researchgroup,SAMBA—Science of Art, Music, and Brain
Activity. Dr. Gardner received Bachelor’s degrees
from the University of Kentucky and the Doctorof Musical Arts degree from Arizona State
University. Gardner is a Silverstein Pro Team
Artist and Henri Selmer Paris/Conn-Selmer
Performing Artist.

Clarinet player Staff Sergeant Parker Gaims of
Los Angeles, joined “The President’s Own”
United States Marine Band in September
2013.Staff Sgt. Gaims began his musical training
at age 9 and graduated from Sherman Oaks Center
for Enriched Studies in Los Angeles in 2007. He
attended DePaul University in Chicago where heearned a bachelor’s degree in clarinet performancein 2011. In 2013, he earned a master’s degree inclarinet
performancefromNorthwestern
University in Evanston, Ill. He studied with Julie
DeRoche of DePaul, Larry Combs of the Chicago
Symphony Orchestra, and Steven Cohen of
Northwestern. Prior to joining the band, he was a
graduate assistant at Northwestern, a bass clarinet
teaching assistant at the Brevard Music Center inNorth Carolina, and performed with the Chicago

64

Chamber Musicians. Staff Sgt. Gaims performs
with the Marine Band and Marine Chamber
Orchestra at the White House, in the Washington,
D.C., area, and across the country during the
band’s annual concert tour. Several notableperformances include: Amilcare Ponchielli’s Il
Convegno
at the International Clarinet
Association’s 2019 ClarinetFest; Michael
Gilbertson’s The Cosmos for wind quintet in 2019;Louis Cahuzac’s Variations sur un air du paysd’Oc in 2018; Béla Bartók’s Contrasts and Robert
Muczynski’s Time Pieces in 2017; Wayne Oquin’s
Tower Ascending with the DePaul University
Wind Symphony in Chicago; and Johannes
Brahms’ Clarinet Quintet in B minor, Opus 115 at
the Kennedy Center Millennium Stage in 2014.
Lucas Gianini has performed with the North
Carolina, Greensboro, Charlotte, and Lima
Symphony Orchestras, Greensboro Opera,
Carolina’s Wind Orchestra and ensembles acrossOhio and North Carolina. He was a founding
member of the Noise to Signal Ensemble, which
premiered several works for Reed Quintet andPiano from 2016-2017. He was a winner of
UNCG’s 2022 Student Artist Competition, hasreceived multiple performance invitations from
conferences of the ICA and CMS, and has
performed with the chamber group F-PLUS.
Lucas performed at the 2020 Clarinet Maestro
Festival and was invited to be the Bass Clarinet
Fellow at the (subsequently-canceled) 2020
Brevard Music Center. Lucas is currently aDoctoral candidate UNC Greensboro, where healso earned his Bachelor’s degrees in Music
Education and Performance. Lucas earned his
Master of Music degree from Bowling GreenState University. His primary teachers include
Anthony Taylor, Kelly Burke, Kevin Schempf,
and Andy Hudson.

65

The Glendale Community College (GCC) Low
Clarinet Choir or “Team Lo-Blow”, directed by
GCC faculty member Dr. Stefanie Gardner, iscomposed of GCC undergraduate clarinet majors
and low clarinet enthusiasts from the Phoenix
Metropolitan Area. The GCC Low Clarinet Choir
was founded in 2017 by Dr. Gardner and is open
to low clarinetists of all levels. The ensemble
performs concerts locally and was invited toperform at the 2020 and 2021 International
Clarinet Association Conferences.

A native of Tucson, Arizona, soprano Christine
Graham sang opera, musical theater, and concertsin Germany for the better part of two decades, andwas especially sought after to perform works fromthe 20th and 21st centuries, including lead roles inPeter Eötvös’ Love and Other Demons, Helmut
Lachenmann’s
Das
Mädchenmit
denSchwefelhölzern (Little Match Girl), andStravinsky’s The Rake’s Progress. She also
performed standard coloratura repertoire, such as
Mozart's Queen of the Night in The Magic Flute,and Zerbinetta in Richard Strauss' Ariadne auf
Naxos to great acclaim. She holds a Master ofMusic in Vocal Performance from the Universityof Washington in Seattle, and a Bachelor of Music
from Northern Arizona University, where she
returned to join the faculty in 2016, collaborating
often with her colleagues in numerous recitals andprojects.

66

A native of Miami, FL, Steve Hanusofski has
been the Associate Principal, Eb, and Bass
Clarinet of The Phoenix Symphony since the
1986-87 season, and was Acting Principal Clarinet
for the 2000-01 season. He holds a Bachelors
Degree in music performance from North Park
College in Chicago, IL and a Masters Degree from
Florida State University, with additional doctoral
studies at both Florida State and Arizona State
Universities. His teachers include Clark Brody,
Robert Marcellus, Fred Ormand, Frank
Kowaksky, and Robert Spring. Prior to joining
The Phoenix Symphony, he was a member of theFlorida Philharmonic and the Miami Opera
Orchestra. Steve has also performed with The
Philadelphia
Orchestra,
The
Cincinnati
Symphony, Santa Fe Opera Orchestra. Kansas
City Symphony, Richmond Symphony, Tucson
Symphony, Tallahassee Symphony, and the
Arizona Opera Wagner Festival Orchestra.
In addition to his duties in Phoenix, Steve is theSecond Clarinetist of the Arizona Musicfest
Festival Orchestra, and since 2010 has spent hissummers as the Assistant Principal and Eb
Clarinetist of The Colorado Music Festival
Orchestra, in Boulder, CO, where he is able toindulge his passions for hiking, fine dining, andbefriending every dog he meets.

67Tim Haas has been the Adjunct Professor of
Clarinet at Grand Canyon University since 2012.
At GCU, he instructs the GCU clarinet studio,
assists with the GCU Thundering Heard Pep Bandand plays Principal Clarinet in the Canyon
Symphony Orchestra. Tim is also Principal
Clarinet of the Symphony of the Southwest, andhas a large private teaching studio of clarinet andsaxophone students.

Steven Henry is a Eindhoven (NL) based bass
clarinet specialist and composer. He studied
clarinet in Tilburg and specialised on bass clarinet
with Henri Bok. At the Eindhoven University ofTechnology He graduated in the field of physics.
Although classically trained, He enjoys exploring
many musical worlds and technologicalpossibilities; such influences can be heard in his
compositions and performances, which oftentranscend genre definition. As a performer heperforms as a soloist, combining motion sensor
technology with the bass clarinet, and withvarious musicians and ensembles, including
singer/songwriter duo Meander and the trio
Rodinia. As a composer he made his first successwith several compositions for concert band. Now
he composes mainly works for smaller ensembles
and films. Since 2020 Steven Henry is the artistic
director of the MuST foundation. MuST, foundedby Steven Henry himself, organises and supports
project in the fields of MUsic, Science andTechnology.

68

Jaren Hinckley, clarinet professor at Brigham
Young University, is the clarinetist with theOrpheus Wind Quintet and the piano/clarinet duo“HDuo.” He has performed and taught at music
festivals, conventions and conservatories in
Brazil, Austria, Mexico, Canada, Belgium, Wales,
England, Scotland, Italy, and the U.S. He received
his D. M. and M. M. music degrees from The
Florida State University and Indiana University.
His compositions include works for clarinet andvarious chamber groups (publishers include
Woodwindiana, TrevCo, and Classical Vocal
Repertoire). He has presented his unique approach
to music pedagogy based on the acting techniquesof Constantin Stanislavski at numerous
universities and conferences. Married to Dr. Jane
Hinckley of the BYU College of Humanities, they
have four beautiful children.
Praised for his “fearless” performances, clarinetist
Andy Hudson has appeared widely across the
US, Canada, Europe, and Africa. “Truly aperformer for the moment,” he has been featured
in Carnegie Hall’s Weill Recital Hall, at Chicago’s
Symphony Center, and at conferences across theglobe. Appointed Bass/3rd Clarinetist of theCabrillo Festival Orchestra in 2020, other festival
appearances have included the Lucerne, Bang on aCan, Hot Air, and Great Lakes Chamber Music
festivals. Andy has premiered 100+ works to dateand has performed with the Chicago SymphonyOrchestra MusicNOW, Miami’s Nu Deco
Ensemble, and at the New Music Gathering. He is
co-Artistic Director with the international sextet
Latitude 49 and his books "Elements ofContemporary Clarinet Technique" and "SPACEBASS: Advanced Explorations for Bass Clarinet"with composer Roger Zare are published on
Conway Publications. Currently on faculty at
UNC Greensboro, Andy is the NC State Chair for
the ICA. www.theandyhudson.com

69Improbable
Beasts is a Boston-based
professional bass clarinet ensemble dedicated tobringing the deeply expressive power of multiple
bass clarinets before a broad audience. Ourrepertoire ranges from Renaissance choral music
to brand-new compositions to klezmer tunes andholiday songs. Our mission is to share the deep
resonances, soaring lyricism, and propulsive
grooves of bass clarinet ensemble music with as
many people as we can.
The members of Improbable Beasts are some of
the most sought-after clarinetists in the Boston
area, regularly appearing with groups such as the
Boston Symphony Orchestra, Boston Pops
Orchestra, Boston Philharmonic Orchestra,
Boston Lyric Opera, Boston Modern Orchestra
Cris Inguanti joined the woodwind faculty at
Northern Arizona University in the fall of 2014
after serving as the assistant principal and bass
clarinetist of the Vancouver Symphony Orchestra
for seventeen seasons. He has also been a memberof the Pacific Northwest Ballet and Houston
Ballet Orchestras, the New York City Opera
National Company Orchestra, and the New
Philharmonia of Portugal. He has appeared as asoloist with orchestras and in recital in Europe andNorth America, and has also performed with awide variety of chamber ensembles. As a memberof the Manhattan Wind Quintet, Mr. Inguanti has
appeared in numerous chamber music series, andhas commissioned and recorded a number of newworks for the genre, resulting in the release on
Albany Records of “When Angels Speak”. Other
recording ventures include the Mozart “Sinfonia
Concertante for Winds” with the New
Philharmonia of Portugal, and two solo CD’s (one70

of which, “Vox Terra”, was nominated for best CD
in the Western Canada Music Awards). He is also
heard on many CBC recordings with members of
the Vancouver Symphony Orchestra. Since
arriving in Arizona, Mr. Inguanti has been afrequent guest artist with the Phoenix SymphonyOrchestra, the Arizona Ballet Orchestra, and the
AZ Music Fest orchestra. At NAU, he performs
regularly as a member of the Kokopelli andFlageolet ensembles, and is a frequent soloist on amyriad of faculty recitals. Prior to NAU, Mr.
Inguanti taught at the University of British
Columbia and the Vancouver Academy of Music.
Born in St-Hyacinthe, Canada, Clarinetist
Marie-Julie
ChagnongraduatedfromConservatoire de musique de Québec (B.A.),
Arizona State University (M.M.) and McGill
University (Artist Diploma). Passionate about
orchestral and chamber music, she was invited tonumerous international festivals in the UnitedStates, Germany, Switzerland and Japan. After
holding different positions with the Vancouver
Symphony Orchestra, she joined the Orchestre
symphonique de Québec as Second and bass
clarinet in 2011. A new music lover, she
premiered Les voix des hautes gorges at ICA in
2007. She also was awarded the Canadian Music
Center price at Le Prix d’Europe competition in2007. A dedicated teacher, she currently teaches at
the Conservatoire de musique de Québec andSaguenay.

71

Clarinetist Gunnery Sergeant Shannon Kiewitt ofSevierville, Tenn., joined “The President’s Own”
United States Marine Band in January 2011. She
was appointed to the bass clarinet section in
March 2017. Gunnery Sgt. Kiewitt began her
musical training on clarinet at age 10. After
graduating from Gatlinburg-Pittman High School
in Gatlinburg, Tenn., in 1995, she attended Indiana
University in Bloomington, where she earned abachelor’s degree in music performance in 1999
and a master’s degree in music performance in
2001. Her instructors include Howard Klug and
Alfred Prinz of Indiana University.
Prior to joining “The President’s Own,” Gunnery
Sgt. Kiewitt was a member of the United States
Army Field Band in Fort Meade, Md., and the
U.S. Army Training and Doctrine Command Bandin Fort Monroe, Va. She also performed at the1999 Belgian Clarinet Academy in Ostend,
Belgium, attended the International Orchestra
Institute Attergau in Upper Austria in 2000 and
was a semi-finalist in the International Clarinet
Association Young Artist Competition in 2003.
Gunnery Sgt. Kiewitt performs with the MarineBand and Marine Chamber Orchestra at the WhiteHouse, in the Washington, D.C., metropolitanarea, and across the country during the band’s
annual concert tour.

72

Marta Kania started her music education in
Poland where she studied bachelor program at the
Academy of Music in Poznań and Master Programin Bydgoszcz. In 2017 she moved to Gothenburg,
Sweden, where she began an interpretation coursein the Urban Claesson class at the Academy ofMusic and Drama In2018, she started the Master
Symphony Orchestra program at the same
Academy In2021 Marta began studying bass
clarinet at the Music Academy in Malmo underCarl Johan Stjernstrom. Marta works with various
symphony orchestras in Sweden: Malmo
Symphony Orchestra, Helsingborg SymphonyOrchestra,
Gothenburg
Opera, Jonkoping
Sinfonietta. She participated in many masterclasses with Yehuda Gilad, Martin Frost, Herman
Stefansson. She 's an active chamber musician
and performs a lot of chamber music for bass
clarinet and string quartet, as well as fortrio:clarinet, cello and piano In April in Malmo,
Marta performed the Swedish premiere of Y.
Bowen - Phantasy Quintet for bass clarinet andstring quartet.
Dr. Lisa Kachouee, Assistant Professor of
Clarinet at Oklahoma City University and a
Backun Artist, enjoys an active career as a solo,
chamber, and orchestral clarinetist. She has
performed in Europe, Mexico, and across theUnited States. A new music advocate, she has
premiered over 40 works. She has performed with
the Oklahoma City Philharmonic, Fort Smith
Symphony, Lawton Philharmonic, Albany
Symphony Orchestra, Tallahassee SymphonyOrchestra, Sinfonia Gulf Coast, and theTaneycomo Festival Orchestra. She has worked
with students in Egypt, Lebanon, and theKurdistan Region through American Voices and is
Artist Faculty for the InterHarmony International
Music Festival.

73

Keith Koons is Professor of Music at the
University of Central Florida. He teaches clarinet
and serves as Graduate Coordinator for the Music
Department and Associate Director of the Schoolof Performing Arts. He has performed andpresented at multiple ICA ClarinetFests® and innational and international conferences of AMIS,
CMS, NACWPI, NFA, NASA, IDRS, and theEuropean Clarinet Association. Dr. Koons is afrequent recitalist and chamber musician. He
performs as Principal Clarinet with the Brevard
Symphony Orchestra in Melbourne, FL, and also
performs with the Orlando Philharmonic
Orchestra. He holds degrees from the Universityof North Carolina, Chapel Hill, the Manhattan
School of Music and the University of Southern
California. Previous teachers include Robert
Genovese, Mitchell Lurie, Donald Oehler, andLeon Russianoff.He served as ICA President from2010-2012 and Artistic Director of ClarinetFest®
As a clarinetist, Jack Lau has appeared in Hong 2017 in Orlando.
Kong
Philharmonic
Orchestra,
Orchestre
symphonique de Montréal, Orchestre 21,
Orchestre de l’Université de Montréal, Ensemblede musique contemporaine de l'Université deMontréal, Hong Kong Youth SymphonyOrchestra. He has performed in different cities
such as Moscow, Daqing, Harbin, Hong Kong, Vald’or and Montréal. Lau cultivates particularinterest in bass clarinet. In search of thepossibilities and innovative potential of bass
clarinet, Lau has been working closely withcomposers such as Camilo Mendez, Eason Chan,
Lauryn Vania Kurniawan, and premiered pieces
for bass clarinet solo and some chamber pieces.
Lau received his Bachelor’s degree from Hong
Kong Baptist University and Specialized Graduate
Diplomas from Université de Montréal where hestudied with Lorenzo Antonio Iosco, Lau Wai,
André Moisan. He has also worked with
Jean-Marc Volta, Andrew Simon, Michael74

Norsworthy and Shih-Wei Lin. Lau has been therecipient of numerous scholarships and awards,
including Luc Vinet scholarships, HKBU Honour
Students Recital Awards, Grand Champion in
Hong Kong Youth Music Interflows and Gold
Award in Schools Creative Music Showcase.
Clarinetist of French nationality established inMontreal, Charlotte Layec evolves arounddifferent musical aesthetics combining classicalmusic and contemporary music, andmixte music and free improvisation. Attracted bycreation and new music, this musician
regularly collaborates with different composers on
works as soloist or in chamber music.
She is particularly interested in the co-creation
process inherent in the collaboration
between a composer and an interpreter inelectroacoustic music. A committed and active
artist on the Montreal music scene, Charlotte
Layec is a founding member of several ensembles
including the Trio Émerillon, the Ensemble ILÉA,
the Collectif Bakarlari and the TESSE Ensemble.
The clarinetist has performed in several
international events and festivals including
NYCEMF (USA), ClarinetFest (USA), Re-Flux(CA), Mise-En-Place (USA), FIMU (FR), Sonic
Circuits Festival (USA) , TIES (CA) and Mutek(CA)
Ludovik Lesage-Hinse is a graduate of McGill
University (Graduate Diploma in Performance) andConservatoires de musique in Trois-Rivières (Master inMusic) and Quebec (Certificat de stage deperfectionnement). Second clarinet with the Ottawa
Symphony Orchestra, and musician with the CanadianArmed Forces, Ludovik is often invited to play withother orchestras such as the Montreal SymphonyOrchestra, the Quebec Symphony Orchestra, and the
National Arts Centre Orchestra. Ludovik is alsointerested in historical performance practice (Orchestra
Galileo). A dedicated teacher, Ludovik teaches at theConservatoire de musique in Rimouski and75

Trois-Rivières as well as the Collège Lionel-Groulx.
He has also taught at Conservatoire de musique in
Saguenay. A Prize-winner at competitions such as the
Canadian Music Competition, the New York Heritage
Festival, and the Festival Pierre-de-Saurel, Ludovik has
also performed concertos from the clarinet andsaxophone repertoire with ensembles such as theQuebec Symphony Orchestra (2019), the Orchestra
Metropolitan (2012), and I Musici Chamber Orchestra(2007).

Jack Liang is a freelance musician based in
Vancouver, Canada. He regularly performs
throughout North America as a soloist and as amember of his trio The Ambassador Trio. He hasa special interest in contemporary music,
particularly in exploring and expanding the tonal
and technical possibilities for the clarinet throughperformances and commissions. Liang's researchand resource for clarinet multiphonics isrecognizedinternationallyandregularlyreferenced by performers, pedagogues, andscholars. Liang earned his DMA and MMus at
Arizona State University, studying with Robert
Spring and Joshua Gardner, and his BMus at
University of British Columbia studying with Cris
Inguanti. Liang is a Chedeville Endorser Artist.

76

Dr. Shiana Montanari & Dr. Katie Rice formed
Laissez-Pair in 2017. They actively promote &contribute to the available repertoire for two bass
clarinets. Recent highlights include performancesat the International Clarinet Association, Texas
Clarinet Colloquium, and National Association ofCollege Wind and Percussion Instructors.
Montanari earned her DMA and MM degrees inClarinet from the University of Nebraska-Lincoln,and she earned her BA degree in Clarinet
Performance from Fort Lewis College. Riceearned her DMA from the University of North
Texas, MM from University of Nebraska-Lincoln,and BA degree in Clarinet Performance from
Wartburg College.
Alicia Lee enjoys a diverse musical life
performing old and new works in solo, chamber,and orchestral settings.
She is a founding member of Decoda, the Affiliate
Ensemble of Carnegie Hall. Made up of alumni
from Carnegie Hall’s Ensemble Connect program,
Decoda’s pursuits place equal emphasis on artistry
and community engagement. She is also amember of the composer/performer collective,NOW Ensemble, with whom she has premiered
dozens of new works written for the ensemble.
Her festival appearances include Marlboro,
Lucerne, and Yellow Barn. Alicia has held
positions in the Santa Barbara Symphony and theBergen Philharmonic in Norway. She holds
degrees from Columbia University, the Universityof Southern California, and The Colburn School.
Alicia currently resides in Madison, Wisconsin
where she is Assistant Professor of Clarinet at the
University of Wisconsin-Madison. She recently
released an album of works by Boulez, Isang Yun,
Unsuk Chin, and Dai Fujikura, on New Focus
Recordings.

77

Julia Lougheed is a freelance clarinetist andeducator based in Phoenix, Arizona. As achampion of new music, Julia has been invited toperform world premieres at multiple International
Clarinet Association conferences, been featured
on recital stages in throughout North America,and performed at national contemporary music
festivals, including recent appearances at Omaha
Under the Radar and Darkwater Women in Music
Festival. Julia has participated in a selective artist
residency program at the Banff Centre for Arts
and Creativity, and has been recognized atnational-level solo competitions, most recently
recognized as a finalist in Black House
Collective’s Inaugural New Music Soloist
Competition. As an educator, Julia currently
serves on the faculty of Scottsdale Community
College, where she teaches clarinet lessons andchamber music. She holds both a Doctorate andMaster’s degree from Arizona State University,and a Bachelor’s degree from Virginia
Commonwealth University.

Wolfgang Lohff is an internationally active
instrument craftsman, specializing in clarinet
optimization and customization. Wolfgang
founded Lohff & Pfeiffer, with his wife Birgit
Pfeiffer, to work closely with top musiciansaround the world. Hailing from Denmark, they
tour the United States twice a year, providing aunique door-to-door service to universities,
clarinet enthusiasts and professionals. For over 40
years, Wolfgang has collaborated with musiciansfrom more than 90 countries, understanding thenecessity of individual solutions for different
cultures and environments. He has developed
refined techniques including noise reduction
systems, resonance treatments, new padding
methods, ergonomic improvements, water
reductions and many acoustical improvements.
Wolfgang is a requested lecturer and has led
workshops and seminars at international festivals
and conferences in the United States, Europe,
Canada, Mexico, Latin and South America, Israel,
Tanzania and Russia.

78

Michael Lowenstern, has performed, recorded andtoured as a soloist and with ensembles of every variety.
He is widely recognized as one of the most innovative
bass clarinetists in the world.
Career highlights include long tenures with the
Chamber Music Society of Lincoln Center and John
Zorn, and touring with ensembles as diverse as the
Steve Reich Ensemble, Orpheus Chamber Orchestra
and the Klezmatics. To date, he can be heard on oversixty recordings, two of which have won Grammyawards. Michael has released eight solo albums of hisown, none of which have won Grammy awards.
Michael also currently serves as Principal Creative
Director for Amazon Advertising’s AutomotiveBrand
Innovation Lab, and in 2021 received his first patent
for a piece of mobile technology that you wouldn’t
understand, because he barely understands it. Prior to
Amazon, Michael worked on Madison Avenue, andreceived dozens of awards for his advertising work on
E*Trade, Verizon, Pepsi, and many others.
Using skills from both pursuits, he is currently in his
eleventh year creating content for his YouTube channel,
to the delight (and consternation) of millions of viewers
across the globe. He lives and works in Brooklyn, NY.

Los Padres del Clarinete Bajos is TAMUK’s
premiere bass clarinet ensemble performing duosand quartets as a subset of the TAMUK Bass
Clarinet Choir. Current members are Rodolfo
Rodriguez, Leonardo Palma, Danny Troncoso,
and Kevin Perez.

79Dr. Corey Mackey enjoys a multi-faceted career
as an educator, orchestral musician, soloist, andchamber musician. He recently joined the faculty
at TCU as the Assistant Professor of Clarinet. He
was the former principal clarinet of the DubuqueSymphony Orchestra for 11 years and has
performed recitals and masterclasses all over thecountry.

Jenny Maclay enjoys a diverse career as aclarinet soloist, recitalist, orchestral player,chamber musician, pedagogue, and blogger (Jenny
Clarinet). Jenny enjoys travelling and researchinginternational clarinet cultures. She’s visited andperformed in over 30 countries and earned hermusical degrees in the United States, France, andCanada.

80

Gail Novak has played at many ClarinetFests
including Belgium, Japan, California, and Kansas
to name a few. A resident of Mesa, Arizona, Gaildoes freelance work at Arizona State
University for faculty, students, and guest artists.
Mrs. Novak is the pianist for the Mesa
Community College Concert choir as well asteaching a private piano studio. A featured
collaborator at the Oklahoma Clarinet Symposiumfor years, Gail can be heard on manyrecordings for clarinet and other winds.

GONZALO QUINTERO FLOREZ
Colombia (1985)
Winner of inaugural Latin American Bass Clarinet
contest, by unanimous decision of jury
headed by the great Dutch bass clarinetist Harry
Sparnaay. Lima, Peru, September 2012. Winner ofinternational bass clarinet contest, by unanimousdecision of jury headed by Dr. Henry Bok andLuis Gomes. Mexico 2019.
Master degree in music, director of thesis Dr.
Javier Vinasco, EAFIT, University of Medellin,
Colombia, 2015. Undergraduate studies at theFaculty of Arts of the University of Cauca. In
2011, obtained the professional title of Clarinetist,
under Andrés Ramírez Villarraga. He participatedin the Clarinetfest 2012 festival organized by theInternational Clarinet Association (I.C.A), an
event held in Lincoln, Nebraska (USA) in August2012 and Ostende, Belgium 2018. He has
appeared in important festivals and on stages ofcountries such as Colombia, United States,
Mexico, Spain, Belgium, Taiwan, Peru, Ecuador,
Costa Rica, Panama and Argentina.

81

Bass clarinetist, composer, and reed doubler Andy
Rayborn lives in Portland, Oregon, where he isactive as a studio and session musician in theindie, jazz, and experimental communities. Andy's
primary focus is performing original music forbass clarinet, voice, flute, and synth under thename paper gates, but he still finds time to playseveral shows a month with various projects andhas appeared on dozens of albums by local bands
in a variety of genres.

Jeff Reilly is a twice Juno nominated (Canada’s
equivalent of the Grammy Awards) musician that
leads a multifaceted life as a bass clarinetist,composer, conductor, a mature improviser, amusic producer, video producer, and as a radio
documentary maker. He is recording artist for theprestigious German label ECM and the Montreal
based ATMA Classique and in a career that spansover two decades he has performed with choirs,
orchestras and chamber groups, in music festivals,
cathedrals and concert halls around the world. Hismusical collaborators include Barry Guy, John
Potter, Jerry Granelli, Christos Hatzis andPeter-Anthony Togni. In his musical performances
Jeff strives to blur any simple distinctions between
improvisation and composition, and to do it withsuch integrity that we are reminded that these
distinctions are moot.

82

Dalton H. Regnier (aka Dalton Ringey) is acomposer and clarinetist based in Gainesville, FL
whose music combines elements of surrealism,
extremism, and drama. He has beencommissioned by University of Delaware Wind
Ensemble, Hope College Wind Ensemble,
trombonist Nathaniel Lease, and tenor Paul
Patinka, among others. He has also collaborated
with several other chamber and large ensembles,
including Sputter Box, Quince Ensemble, icarus
Quartet, loadbang, and University of Delaware
Symphony Orchestra. Compositional awards andhonors include an Individual Artist Fellowshipfrom the Delaware Division of the Arts, a Judge’saward in the Dartmouth College Wind Ensemble
Composition Competition, an ISU MusicNow
Call for Scores, as well as being a finalist for the
ASCAP Morton Gould Young Composer’s
Awards on multiple occasions. His music has beenfeatured at Hot Air Music Festival, Indiana State
University Contemporary Music Festival, andConnecticut Summerfest.
Tony Rod is a professional music composer withover eight years’ experience and has acomposition degree from Kansas State University.
As a composer, Tony can proficiently play all
woodwinds and dabbles in brass, keyboards andguitar/bass, giving him insight that translates into
quality compositions and part writing. Tony has
written arrangements & originals performed by
the Kansas State University Symphony Orchestra,
Flute Ensemble, Bassoon Ensemble, and Jazz
Ensembles (Combos, Big Band, and Latingroups). Notable ensemble performances at KSU
include: Piccolo with the Symphony Orchestra,
Aux Clarinets with the Wind Ensemble, Reeds in
all Jazz ensembles and dozens of outside
theatre/big band gigs: Tony plans on pursuing a
Master in Music Composition next year, as he isspending a year with his family after a major
emergency. While his formal education is paused,
he is performing with the Allen community band83

on baritone saxophone as well as the McKinney
Mexican clarinetist Citlalli Rosas graduated from community band on alto clarinet in Texas.
the National University of Mexico and from The
Royal Conservatory of Ghent.
She was a member of the Puebla SymphonyOrchestra, as bass clarinet player -2011- and as
principal clarinet -2012 to 2013- and from 2014
through 2020 she was Piccolo Clarinet at the
National Guard Symphonic Band. In 2019 sheplayed as Piccolo Clarinet in Shostakovich
Symphony No. 10 and Mahler Symphony No.3
recordings with the Symphony Orchestra of
Guanajuato. In 2015, as member of “Paax-Kan
Clarinet Quartet”, she participated at the ICA
Clarinet Fest in Madrid and in 2011 she won the
2nd place at the VI National Chamber Music
Competition “Ollin Yoliztli” in Mexico.
In 2020 she was part of the Piccolo Clarinet
Academy, an online course given by Javier Llopis
and in April 2022 she was invited at the “BassClarinet Week” organized by Clariperu as a player
and as Jury at the II Bass Clarinet Latin American
Jonathan Russell (b. 1979) creates music byCompetition.
turns tender and fierce, playful and profound,propulsive and still. He seeks to express the fullrange of human experience in a way that speaks
directly to people’s hearts, minds, and bodies.
While he composes for all sorts of instruments,
the extraordinary sound and spirit of the bass
clarinet is a driving force behind much of his
work. His numerous compositions for bass
clarinet(s) include solo works, sonatas, concertos,
duets, trios, quartets, chamber works, and large
bass clarinet ensembles. As a performer, heappears frequently as a clarinetist and bass
clarinetist in a wide range of styles and contexts.
He was a longtime member of the Edmund Welles
bass clarinet quartet, is a member of the Sqwonk
bass clarinet duo, and is the founder and leader of
Improbable Beasts, a professional Boston-basedlarge bass clarinet ensemble.

84Dr. Larkin Sanders is a native of Branson,
Missouri, and currently lives in Kansas City,
Missouri where she is the clarinet instructor at
Washburn University, owns the Clever Clarinetist(aclarinet
specialty
store),
isthe
Executive-Artistic Director of the Taneycomo
Festival Orchestra, and performs frequently with awide variety of chamber ensembles andorchestras. Dr. Sanders is also endorsed as an
Artist by Henri Selmer Paris, D’Addario & Co.,
Silverstein Works, and Brian Corbin Clarinet
Products. In addition to her activities as aclarinetist, teacher, and administrator, Dr. Sanders
is also a composer and author of several books
and self-publishes her original compositions andclarinet methods.
Fie Schouten (1972, NL) is playing on all theclarinets with a warm preference for the low ones.
As a specialist in performing new music, she canbe heard extensively as a soloist and inchambermusicformations,oawithcellistKatharina Gross, pianist Keiko Shichijo, bass
clarinettist Jelte Althuis, accordionist Marko
Kassl, harpsichordist Goska Isphording. She also
performs with improvisers: pianist Guus Janssen,
cellist Vincent Courtois, Wilbert de Joode double
bass. Schouten initiated and leads the Basklarinet
Festijn together with Tobias Klein, a biennalefeaturing the bass clarinet. She produced 8 CD’s
with contemporary chamber music for (bass)
clarinet. In 2015 Dutch Donemus Publishing
published her album with 11 bass clarinet
miniatures, meant as an introduction for young
bass clarinetists. Schouten is Professor of Bass
Clarinet/Contemporary music at the Prince Claus
Conservatoire Groningen. She studied at the
Amsterdam Conservatoire with Harry Sparnaay.

85

Maria Juliana Sivila
Nació en Jujuy (Argentina). Se recibió de Profesora deArtes en Música-Especialidad Clarinete en la Escuela
Superior de Música de Salta.
Recientemente resultó ganadora del II Concurso
Latinoamericano de Clarinete Bajo en la Categoría A
organizado por Clariperu. Entre el año 2019 y
septiembre de 2021 se desempeñó como clarinete bajo
en la Orquesta Sinfónica Provincial de Rosario.
Asistió a clases dictadas por los maestros Cristiano
Alves, Luis Rossi, Mariano Rey, Ron Samuels y
Valdemar Rodríguez. En la modalidad online con
Olivier Patey, Sauro Berti y Anthony McGill. En la
actualidad se especializa en clarinete bajo con
Sebastián Tozzola, es clarinetista de la Sinfónica
Provincial de Rosario, realiza estudios en la
Universidad Nacional de Rosario en la Maestría deInterpretación en Música de Cámara, integra el trío de
Cámara Ridzevski-Sivila-Sánchez de la Vega y el
Ensamble Warmi que difunde e interpreta obras decompositoras latinoamericanas.

Christy Banks and Jessica Lindsey formed theSpatial Forces Duo (SFD) in 2008, and since thattime have toured the U.S. from Alaska to
Alabama and internationally in Europe, Canada,
China, and New Zealand. SFD aims to stretch thesonic possibilities of the traditional clarinet duo:each performer doubles on clarinet and bass
clarinet. Dr. Banks is Associate Professor of
Clarinet/Saxophone and Assistant Chair of theTell School of Music at Millersville University ofPennsylvania. Dr. Lindsey is currently Associate
Professor of Clarinet and Co-Director of theDigital Arts center at UNC Charlotte. SFD
recently published an album with Albany Records,
titled “Little Spectacle” and early reviewers of thealbum recommend “several repeated listens to thevirtuosic and expressive playing of the performers
and the exquisitely crafted and sublime creationsof the diverse selection of composers.”

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Sqwonk bass clarinet duo (Jeff Anderle andJonathan Russell) is a dynamic and adventurous
ensemble that “pushes the envelope of what bass
clarinet music can be” (Clarinet Magazine).
Sqwonk is devoted to exploring the full expressive
range of the bass clarinet, from deep resonances toraucous wails. While grounded in the classicaltradition, Sqwonk’s music draws on a wide range
of influences, from klezmer to heavy metal toblues to minimalism to free improvisation,
creating a repertoire that is strikingly
contemporary, yet broadly accessible to a wide
audience. Sqwonk has created an entirely newrepertoire of bass clarinet duos from scratch, andhas released three albums featuring newly
commissioned works by some of America’s most
exciting up-and-coming composers.
Elisabeth Stimpert is a founding member of thecritically-acclaimed new-music ensemble Alarm
Will Sound. She performs on stages across theUnited States and internationally and works
regularly with living composers. Through Alarm
Will Sound’s collaborative music initiatives Alarm
System and the Matt Marks Impact Fund, Dr.
Stimpert has worked with artists from manydifferent musical traditions, and her scholarly
work focuses on building musical collaborations.
Dr. Stimpert is Associate Professor of Music at the
University of Central Missouri (ucmmusic.com)
where she directs the UCM Clarinet Studio,
teaches aural training, woodwind methods,
chamber music, directs the New Technologies
Ensemble, and co-directs the annual Missouri
Experimental Sonic Arts Festival (moxsonic.org)
with Drs. Jeff Kaiser, Alex Smith, Travis

87Garrison, and Eric Honour.
She will be joined by Dr. Alex Smith on marimba(https://jasmithmusic.weebly.com)

Boston-based contemporary duo Transient
Canvas is on a mission to revolutionize themodern concert experience. Since 2011, theirperformances have been praised as “superb” by
the Boston Globe and “disarming” by Cleveland
Classical, with the San Francisco Chronicle
lauding “the versatile imagination they both
display and inspire in others.” Bass clarinetist
Amy Advocat and marimbist Matt Sharrock relishthe creative potential of working with living
composers, having amassed a varied repertoire ofover 85 commissioned works in addition to
working with hundreds of composers from allover the world. They maintain an active touringschedule with recent performances at the Alba
Music Festival (Italy), Charlotte New Music
Festival, Music on the Edge, Red Note New
Music Festival, People Inside Electronics, andFestival of New American Music, among others.
They have three albums, Right now, in a second;
Sift; and Wired; released on New Focus
Recordings.

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The United States Army Field Band Bass
Clarinet Quartet was founded in the Fall of
2019. The members created the group because ofa shared love of the bass clarinet, educational
outreach, and interest in expanding the repertoire
for this unique ensemble. The TUSAFB Bass
Clarinet Quartet has performed education
missions at schools for students of all ages, live on
Pittsburgh public radio, and on the Field Band’s
streaming series during the height of thepandemic. Since the creation of the quartet, thegroup has commissioned four and arranged ninepieces for the medium. Quartet members include:
MSG Jennifer Everhart, MSG Chad Martin, SFC
Kevin Walko, and SSG Mikey Arbulu.
Clarinetists Alexandra Chea (Nassau, Bahamas)and Hannah Weller (Grove City, Pennsylvania)
first met at Messiah University. Alexandra ispursuing her Doctorate of Musical Arts at ArizonaState University while Hannah is pursuing her
Master of Music at the University of North Texas.
Following the initial lockdown, they decided not
to let the pandemic stop them from performing
together. After collaborating via social media for ayear, the two decided to form Venn Duo. Throughtheir performances and collaborations, Venn Duo
aims to expand the body of literature for the
clarinet, which includes the work ofunderrepresented and upcoming artists. Being two
individuals from different backgrounds andcultures, Alexandra and Hannah realized thatcombined, their skills, passions, ideas can create
musical experiences that demonstrate the beautyof unity.

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StephanVermeersch:aversatile
performer-improviser-composer of classical,
contemporary, world and electro-acoustical music
on clarinets and saxophones. He frequently
collaborates with other cultures and art forms,
including visual arts, dance, film, architecture,
literature, and theater. He has participated as asoloist and chamber musician in a multitude ofgenres, at concerts and festivals in over 40
countries worldwide. As a composer/improviser,
his motto is: "What lies beyond the border, a quest
for new captivating music for a wide public, farreaching and enriching!” He is much in demand
for master classes and workshops on various
aspects of music making. He is professor
Clarinet/Saxophones, Composition, Head ofWinds at MAAK Open House of Arts,
Knokke-Heist, BE and has also a large private
class. As a teacher his goal is to guide students
through a thorough neurologic development path
to become a full musician: not only being able toreproduce, but to become a creative expressive
person able to find their own way in the 21th
century.
Since 2013 Stephan is President of the European
Clarinet Association, he was International
Representative Board Director (2013_2017) of theInternational Clarinet Association and is now
National Chair BE for ICA: these organizations
strive to unite clarinetists worldwide acrosslanguage, culture, politics, and national borders.
more info at www.stephan-vermeersch.be90

An engaging and accomplished clarinetist, Dr.
Andrea Vos-Rochefort regularly premieres newworks in recital and at Clarinetfest and has
performed with the Dayton Philharmonic,
Orchestra Kentucky, Richmond Symphony, Lima
Orchestra,
Carmel Symphony, Cincinnati
Chamber Orchestra, Cincinnati SymphonyOrchestra, West Virginia Symphony, Fort WorthSymphony,
CorpusChristi
Symphony,
Midland-Odessa Symphony, and San Antonio
Symphony. Dr. Vos-Rochefort is the AssistantProfessor of Clarinet at Texas A&M
University-Kingsville. Andrea received her
doctoraldegreefrom
Cincinnati
College-Conservatory of Music studying with Ben
Freimuth, her master’s degree from Manhattan
School of Music studying with Mark Nuccio,
Diplômes Supérieurs in Clarinet and ChamberMusic from L’Ecole Normale de Musique de Paris
studying with Guy Deplus, and her bachelor’s
degree from Ithaca College studying with Michael
Michelle Wachter, DMA, serves as Associate
Galvan.
Teaching Professor of Class Piano at Northern
Arizona University, where she teaches grouppiano and piano pedagogy and coordinates the
piano area of the NAU Community Music andDance Academy. Dedicated to excellence inresearch and pedagogy, Wachter has presented at
the National Conference on Keyboard Pedagogy,
the Group Piano/Piano Pedagogy Forum, the
MTNA National Conference, and many regional
and local conferences. Her articles have appearedin American Music Teacher, Clavier Companion,
and the MTNA e-Journal. As an
educator, Wachter has extensive experienceteaching piano to students of all ages and levels inboth group and private lessons, and she is afrequent adjudicator at festivals and competitions.
She is currently serving as 1st VP/President Electof the Arizona State Music Teachers Associationand is in demand as a collaborative pianist.

91Eileen Walsh has held the position of Secondand Bass Clarinet with Symphony Nova Scotia
since 2007. She appears regularly around the
Maritimes in series including the Music RoomChamber Series, Inner Space Concerts, Scotia
Festival of Music, Open Waters Festival, theCharlottetown Festival, Cecilia Concerts, Alkali
Collective, and Indian River Festival. Eileen
has dedicated herself to premiering new works
from many Canadian composers, including
Carmen Braden, Jérôme Blais, Derek Charke,
Cris Derksen, Emily Doolittle, and Dinuk
Wijeratne. Eileen can be heard on recordings by
Symphony Nova Scotia, Derek Charke/Acadia
University and Suzie LeBlanc.
Eileen earned her Master of Music degree andPerformer Diploma from Indiana University, andher Bachelor's degree from the University of
British Columbia. She is on faculty at Acadia
Tasha Warren, avid teacher and internationaland Dalhousie Universities in Nova Scotia.
performer, has premiered over one hundred solo
Other pursuits include performing on period
clarinet and chamber works throughout the US,
instruments, teaching music theory, and dabbling
Europe, Israel, China, South Korea and India. She
in claymation.
has recorded with Innova, Alba, and SCI Records,
Crystal, and Centaur Records. Her recent album,“Ourself Behind Ourself, Concealed” (Bright Shiny
Things Label), a collaboration with cellist Dave
Eggar of newly commissioned and premiered Bass
Clarinet and Cello works, earned two 2023
Grammy nominations. Her solo CD, The Naked
Clarinet (Crystal Records), hailed praise in reviews
from International Record Review, Fanfare
Magazine, The Clarinet Magazine, and others. Her
recording chamber works featuring clarinet andstrings, Black Lines, was released by Centaur
Records in 2016. Warren is Assistant Professor of
Chamber Music at the MSU College of Music andhas taught on the music performance faculties ofLouisiana State University and the University ofVirginia. She is a member of American Modern

92Ensemble and Jackson Symphony Orchestra, andhas served as principal clarinet with theCharlottesville Symphony Orchestra and Columbus
Indiana Philharmonic, and regularly performs with
the Lansing Symphony. She has been the principal
clarinet faculty of Mostly Modern Festival since its
inception in 2018, and has implemented study
abroad programs in Spain and India, and chambermusic programs with the Jacksonville Symphony
Youth Orchestra, the University of Virginia, and theMusical Arts Youth Orchestra. She holds MM andDM performance degrees from Indiana University
Jacobs School of Music. Tasha Warren performs on
Selmer Paris clarinets.

Sarah Watts studied clarinet at the Royal
Academy of Music with Angela Malsbury andVictoria Soames Samek (bass clarinet). Sarah thendecided to specialise in bass clarinet and continued
her studies at the Rotterdam Conservatorium bass
clarinet with Henri Bok, funded by the Countess of
Munster Musical Trust and a Leverhulme Trust
Studentship. Sarah was awarded the Exxon prize
for the best classical music student in Rotterdam.
Successes include: Winner, UK Howarth Clarinet
Competition 2000; Winner, Hawkes Clarinet Prize(RAM) 2001; Winner, Sir Arthur Bliss ChamberMusic Prize (RAM) 2000; Winner of wind section

and Faber Prize, UK Performing AustralianMusic competition, 2001 (her clarinet and bass
clarinet recital was broadcast on ABC radio);Finalist, Wind section, Royal Overseas League
Competition 2000.
Sarah specialises on the bass clarinet and has
gained an international reputation as an artist,
teacher and researcher on the instrument. She
has performed solo repertoire across the UK,
Ireland, Asia, Europe and the Americas and has
attracted composers including Sir Harrison
Birtwistle, Piers Hellawell and William Sweeney
to write works for her. In January 2003, Sarah
performed a solo bass clarinet recital in
London’s Purcell Room as part of the Park Lane
Group Young Artist Series.
Sarah is Director Performance at the Universityof Sheffield, where she also teaches clarinet andbass clarinet. Sarah hosts bass clarinet andclarinet courses on the Isle of Raasay in Scotland
and has run and taught on many wind chambermusic courses in the UK and France. Sarah has
given workshops on bass clarinet technique atmany establishments around the world and wasbass clarinet tutor at RNCM from 2012 - 2022.
Sarah performs with Hard Rain Soloist
Ensemble, rarescale and SCAW. She has

93completed a PhD in bass clarinet multiphonicanalysis at Keele University and has published‘Spectral Immersions; A Comprehensive Guide
to the Theory and Practice of Bass Clarinet
Multiphonics’ via Metropolis publishers Sarah is
an Henri Selmer Paris artist, a Vandoren UK
artist and a Silverstein Ligature artist.
As a performer, Jeremy Wohletz maintains avery active performance schedule and is a large
advocate for new music, both performing andcommissioning new compositions. One of thesecommissions was recently premiered at the 2021
International Clarinet Association convention,
involving solo bass clarinet with electronics.
Another piece was commissioned and premieredat the 2012 ICA convention by his guitar andclarinet duo, Pararo. This performance wasdescribed by The Clarinet Journal as “a soothing
blend of guitar and clarinet that washed throughthe ears to the soul.” As a solo recitalist, hepresented performances and masterclasses
throughout the United States, Canada, andPortugal. For links to audio/video please visit:www.jeremywohletz.com

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