Magazine: Choosing A Reed
Magazine: Choosing A Reed
Magazine: Choosing A Reed
CHOOSING A REED
INTERVIEWS : A. CARBONARE, P. CUPER, G. FEIDMAN, C. DELANGLE, J.Y. FOURMEAU, M. VILLAFRUELA, D. SANBORN VANDOREN NEW PRODUCTS & NEW SCORES
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6 Jean-Marie Paul (Vandoren), Craig Bailey, Keith Loftis(Ray Charles Orch.) and David Sanchez
3 Jean-Nol Crocq (bass cl., Opera & Paris Conservatory) and Franklin Cohen (Cleveland Orch.)
7 Python Sax Quartet (Holland) and Ton, our distributor of Jic Music
4 William Street (Canada), Jean-Paul Gauvin (Vandoren) and Paul Bro (Michigan)
8 Paul Meyer, Shin-Ichiro Ikosaka, Yasuko Tanaka (Trouvre Sax Quartet ) and Shin Okawa (Nonaka, Japan)
EDITORIAL
What an interminable debate over a little strip of reed that makes us quiver with excitement, doubt or dream! Fragile yet rebellious, a reed is above all a natural and complex product requiring a
1 Dominique Vidal (France, freelance concertist) Mouthpieces : B45, 5RV Lyre standard and 13 Series Reeds : V.12 # 3.5 Joe Tihacek retired from U.S. Army Band 2 Gilles Thom (France, period clarinets) Traditional Reeds and V.12 Giora Feidman (klezmer clarinet) Traditional Reeds # 1 3 Jean-Noel Crocq (bass clarinet, Paris Conservatory & Opera) Mouthpieces : Bass clarinet B44 Traditional Reeds # 3.5 Franklin Cohen (soloist, Cleveland Orchestra) Reeds : V.12 # 3.5 4 Paul Bro Vice President of NASA (North America Saxophone Alliance) William Street (saxophone, Univ. of Alberta, Canada) Mouthpiece : alto sax A28 Traditional Reeds # 3 5 Steve Coleman (jazz) Mouthpieces : Soprano S25, Alto A55 Java Reeds : V16 # 2.5 and Java # 3 6 Craig Bailey (jazz) Mouthpieces : Alto A35, soprano #3, tenor T75, clarinet B45 Traditional Reeds : soprano #3, tenor #3 Keith Loftis (jazz) Mouthpieces : Soprano S25, tenor T75 Reeds : Soprano #3 David Sanchez (jazz) Traditional Reeds # 3 7 Python Sax Quartet (Netherlands) Mouthpieces : V5 Traditional Reeds 8 Paul Meyer (clarinet, freelance concertist) Mouthpiece : 5RV Lyre Reeds : V.12 # 4 Shin Hiro Ikosaka "Trouvere Saxophone Quartet" Traditional Reeds # 4 Y8asuto Tanaka "Trouvere Saxophone Quartet" Traditional Reeds # 3.5
Photos : Steve Coleman : Nicolas Roux-Ditbuisson Others : copyrighted.
lot of attention. In reality, it needs to be understood, cherished and gradually tamed, until a close relationship is built up with the musician. And although a reed has its own language, it also permits artists to express their own sensitivities. However, it is not easy to initiate a dialogue because a reed must be married to a good mouthpiece and fit its facing perfectly so that it can reveal the personality of a sound. It is therefore vital for a reed and mouthpiece to be well matched. Furthermore, the sensitivity of a musician can change over time. After a meal, his lips will not necessarily find the same dominant qualities (resistance, texture). Just as a wine does not have the same body when served in different glasses, a reed can respond differently according to the musicians physical and emotional state. But in the final analysis, all its charm lies in these mysteries.
S P E C I A L F E AT U R E S
My students used to say to me, You always have good reeds, and I would reply, Yes, they are the same as yours.
Henri DIONET, Honorary Clarinet Teacher at Versailles
Never reject a reed because of its appearance, do not adjust a reed without having tried it (), do not allow reeds to take over your life (and) do not spend an excessive amount of time on your reeds.
Edward Palanker All you wanted to know about reeds, and less, The Clarinet, September 1999.
Choosing a reed
I
n addition to the quality of the reed, the principal factors that have an effect on the result produced by a reed are: material: its marriage with the mouthpiece and ligature. physical: the embouchure (lips, jaw, cavity of the mouth ,) and the air column physiological: the acidity of the saliva, for example. psychological: the " mental " state of the musician at a given moment, the colour of the cane in certain cases. climatic and acoustic: the weather, the sound environment in which the musician plays. mechanical: when wood is wet and then dried, it becomes warped; this applies even more to cane (*); a ligature that is too tight can prevent a reed from vibrating. In view of these changing parameters, the key word is ADAPTATION at all times. It is very useful to limit subjectivity as much as possible: by knowing the reactions of ones body and material in different situations, by asking for advice from musicians who are familiar with your style of playing or by recording yourself (while playing, one perceives sounds through the external and internal ear). The purpose of this file, the outcome of the experience of the artistic advisers of Vandoren and leading musicians, is to succeed in optimising ones reeds. It will be continued because the subject is so vast and fascinating. We hope you enjoy reading it! Jean-Marie PAUL
(*) Do you play? So does wood. The Technical Centre for Wood has carried out experiments proving that wood cut several centuries ago continues to play. The tested pieces had the thickness of the door of a sideboard. The pallet of a reed is only a few hundreds of a millimetre thick. No wood undergoes such heavy treatment as a reed, alternately impregnated with saliva (worse than water) and then dried, and then made to vibrate hundreds, even thousands, of times in one second. As for the thickness, some people believe that the manufacturer produces reeds with a thick tip to obtain hard reeds (and, on the contrary, with a finer tip, for softer reeds). In reality, it is the flexibility of a reed (scientifically controlled at Vandoren) that determines its strength.
Giora Feidman,
Giora FEIDMAN
klezmer clarinet How do you produce this magic sound with such soft reeds (#1) ? All the items that I have at my disposal : the clarinet, the bell, the mouthpiece,the ligature,the reed, are there to give the freedom to sing music, not to play the clarinet. I was educated this way. I was never taught to find the ideal material or the ideal sound, but to find the sources of music.If you tell me that I play with soft reeds, for myself I dont know.If you give me a harder reed,I will probably get the same result,but I would use too much energy,that I dont need to use.I just use a few reeds a year ! I practice all the time,but maybe not in the way you think : I dont necessarily need a clarinet or a mouthpiece to practice. You have the sound in your head. The clarinet is for performance.I have just played 31 concerts in 33 days (with the same reed, by the way). I play at 442 Hz, but in Germany it is not sharp enough.I have used VANDOREN for 55 years (I was 9 years old). My father already played Vandoren. I first came to VANDOREN,rue Lepic,in 1957.I descend from four generations of musicians.My father,who was a symphonic clarinet player,but who also played at weddings, never gave me " exercises ". He told me : a scale is a song,a difficult one,but a beautiful sound.Your practice must always have something to do with music.Also the source of music is improvisation. Mozart improvised, and wrote down these improvisations.The interpretation itself is an improvisation.Classical
Anches traditionnelles n1
musicians are not taught to improvise, they are afraid to be free. Many musicians ask you how you play so pianissimo. I enjoy the recording, it is a pleasure.The microphone was born to listen to silence. Sound you produce, silence you use When the sound is in the air, you listen to the silence and not to the sound ; because the sound is temporary, silence is infinite. I dont play pianissimo. It is my inner voice. If you are in the situation of playing for a baby, they ask you to play quietly to allow him to sleep, you will play pianissimo. I am not saying that to get a pianissimo sound is easy Many people say it is difficult to play klezmer music,to get the right embouchure I play with the lips, for me, for my sensitivity, to speak music to the reed. There is a fabulous exercise : if you put earphones and you connect this to an amplifier with a microphone, you are listening to your recording instantaneously as you play. This will open up your ears ;because the ears are closed :our ears are accustomed to a kind of sound, a style, an order of staccato, legato, whatever Everybody has probably experienced this when you listen for the first time to your voice in a recording (even if the microphone is very good), you are astonished by the sound of your voice. I was told : one note is a melody.Also we must take great care, not to transmit our personal problems.At a seminar workshop, I was asked to share my experiences.I dont want to stand as an example, that is why I do not teach.My experience might not be good for you.
CLASSICAL CLARINET
Alessandro CARBONARE,
Soloist with the Orchestre National de France I tell young clarinet players that it is not enough to have a good mouthpiece and a good reed to produce a super sound. Good material helps towards achieving a certain type of tone but the sound is inside you. If I give my material to somebody else, he will not have my tone; after all he may perhaps do better (laughs). It is not something final either. It is the musician who plays the clarinet and not the other way round. I have been playing with V.12 reeds ever since they came out. I had to adapt myself a little at the beginning, but I find they have more sonority, for me at least. In this case too, a musicians judgement should not be final.
Philippe CUPER,
Super-Soloist with the Opra de Paris, Guest Solo Clarinet with the Berlin Philharmonic, Professor at the Conservatory of Versailles What are your criteria for choosing a reed? It is difficult to dissect the procedures one carries out every day instinctively. I try to play all the reeds in a box, whatever the result: strong, weak (that is to say, a little above or below the average), with or without resonance. I make my choice after a while (it can take several days). I play each reed for 30 seconds to one minute to give me some idea. In the afternoon, or on the following day, I start the same operation again. I play them in turn, I play them a little longer. After two or three days, I make my choice. I do not believe there is ONE remedy, ONE solution.All musicians have their own little habits (the recipes do not necessarily apply to everyone). The reed changes, it lives; the climate also changes, as well as the place where one will be playing. Hygrometry and meteorology are parameters that have to be taken into account. Like many of my colleagues, I sometimes use a resurfacer if the reed has warped a little, a trimmer if it is a little too soft for me (or has become soft). If the opposite is true, I use some Dutch rush to scrape it if it is too strong because a blade requires a certain dexterity and daily experience, like oboe or bassoon players (so why not the clarinet?). But above all, I use my reeds in turn. The other applications are only put in practice if the right reeds have not been found after a few days. One should not struggle against these pieces of wood and ebonite in the mouth but be one with them. They are an extension of oneself. Being a perfectionist is not incompatible with knowing how to put any situation into
You travel a lot all over the world. Do you have the impression that certain factors influence the reaction of a reed more than others,for example, acoustics, humidity, altitude, distribution of the fibres of the reed,even the physical and psychological state of the musician?
Bec B40 - Anches traditionnelles et V.12 n 31/2 Philippe Cuper
perspective and to adapt to a material at any moment.We are so lucky in Western countries! There are still a number of students in other parts of the world, and even professionals, who have only one mouthpiece or one reed and sometimes of poor quality.They do with what they have and in spite of this, express a true musical message. If this has not been understood, that the material used is not an end in itself but only a means for expression, then the main point has been missed. In this respect, Louis Cahuzac, who overcame the problem, used to say,reeds should be treated with scorn.
A little of all of this, certainly. What has perhaps bothered me the most is altitude. During summer festivals in the mountains, you play at 1,800 metres,and the reeds selected no longer react so well. The reeds seem to be stronger, you get tired more quickly with the scarcity of air (unless you are a mountain dweller!). One can also be surprised by the acoustics of an unfamiliar concert venue. If you play in a cathedral with a lot of reverberation of sound, there is no point in wearing yourself out with a strong reed, the usual reed will sound just as well. On the other hand,playing a reed that is too soft in acoustics that are too dry can risk altering your musical qualities, this is a well known fact. The psychological factor you mention is also very important, but so is the physiological condition. Blood pressure can vary and slightly modify ones internal auditory perception, and diminish resistance to effort. Temperature affects intonation. An overheated hall will raise the fondamental pitch. A temperature that is too cold will handicap you in a different way, the reed will not talk, it will no longer respond in the same way. One cannot always do what one wants, but with years of experience and of trial and error, that is to say, the profession,one tries to alleviate these inconveniences to reduce them as much as possible. One must ALWAYS ADAPT, as human beings are capable of doing so well.
J.Y. Fourmeau Anches traditionnelles n3
CLASSICAL SAXOPHONE
Jean-Yves FOURMEAU
Professor, Conservatoire National de Region, Cergy (near Paris) There comes a time when you have to choose between being unhappy all your life because you feel dissatisfied or tell yourself that it has to work because you need to achieve a result. This does not mean that you should play with just about any reed. But one has a lot of responsibility on this particular point. I was able to avoid this dilemma very quickly because an accessory, as its name indicates, is not indispensable in itself, it is an element that contributes to comfort. What is essential is the self-confidence of the individual and his relationship with the instrument. I have been able to avoid reed mania because I have never hoarded reeds (). I have a natural and instinctive relation with material. I have my reference points. This is my philosophy of life. I do not claim that this is the only path. I know other musicians who frequently change reeds but I myself am an advocate of stability in the choice of reeds.
CLASSICAL SAXOPHONE
JAZZ
SAXOPHONE
Miguel VILLAFRUELA
Becs S15, A27-A17, T27,B35 Anches traditionnelles 3, 31/2, 4
When your students start to play light music or jazz,does their embouchure change? No, because they were trained in a classical therefore serious and consistent, and open-minded way.They now therefore how to be flexible without giving themselves away. One of my students who plays alto saxophone in the quartet plays much light music on television.And it Miguel Villafruela is noticeable that he does not produce the same sound (neither does he use the same mouthpiece) What advice would you give your students concerning the choice of reeds? When my students open a box, they must note which reeds are good for a concert, those that are more suitable for an exam, those that are too soft and should be re-cut slightly, and those that are too strong and need to be adjusted with a resurfacer. Above all, they must break in the reeds, a different one every day.As for the reed selected for a concert, obviously it should not be played too much before playing at the concert in question. This is why I do not have any reed problems with my students. Of course, there are always students who claim that there are only four playable reeds in a box. But if the above advice is followed, they realise that more can be played.
David SANBORN
A good reed can cover a multitude of sinsIf you have a good reed, you can sometimes get past a horn* that leaks, a horn* that is not in very good shape. That is what is so frustrating in woodwind instruments But if you think too much about the problems, you become more preoccupied by the limitations than the possibilities. The great thing that the reality of reeds does is that it puts you in touch with nature of life, which is change. Nothing stays the same. If you are a reed player, you are reminded of that every time you pick up your horn* A good reed can just make my whole day.
* Horn : saxophone
I have a very unusual system for preparing reeds that was taught to me by John Purcell. I prepare a lot of reeds. I will take 2 or 3 boxes of reeds and soak them in water in a sealed jar (the jar needs to be small enough in diameter for the reeds to stay upright) for about 2 hours, with approximately 10 reeds (or one box) in each jar. After the soaking process I put them back in the plastic Vandoren reed holders and place them back in the jar- tip down, with only five or six drops of water in the jar. I then clean the reeds daily by running warm (not hot) water over the reed while gently rubbing it, always toward the tip, first one side, then the other. I then thoroughly rinse out the jar, put the reeds back in their plastic cases and replace the five or six drops of water in the jar. The purpose of the small amount of water in the jar is to allow the reeds to retain some moisture so they will not dry out. It usually takes between 1 and 3 weeks for a reed to be ready to play. When I take a reed out of the jar to play, I put it on the mouthpiece and if it is good, I leave it on the mouthpiece until it wears out. Sometimes the weather will accelerate the degeneration of the reed, thats all. If I play in Phoenix Arizona one day and the day after in New York or Florida, I may even use the same reed. Once again, a good reed is a good reed. I keep the reed from drying out by keeping the mouthpiece cap on when not playing. Make sure the mouthpiece cap does not have a hole in the tip end, but if it does, put tape over the tip of the cap to maintain moisture on the reed. Try to play the horn at least twice a day to make sure the reed stays moist and flexible. I normally don't take the reed off the mouthpiece while it is still playing well, but , if I take the reed off to clean it I replace it immediately. Using this process, the reeds usually last at least a week, sometimes two.
Claude DELANGLE,
When I was younger, I looked for the ideal reed. This is not necessarily the right solution. I first try to find a medium strength that suits me (he takes a reed and plays it). This reed is a little too strong for my mouthpiece but I will keep it because I prefer to choose reeds of slightly different strengths so that I can adapt Claude Delangle to climatic changes and retain the flexibility of the embouchure. During rehearsals,I rarely use reeds selected for concerts. In this way I can keep my reeds for a fairly long time.To find a concert reed,after dealing with the strength,I concentrate on the sound projection and tone. Obviously,one should not have too much of a preconceived idea about the tone at the time of selection. And then I play a little, not too much, to give it a patina,without taking away its energy. After having played a new reed,I dry it with my fingers to spread the moisture all over its surface, so that it does not warp so easily. If I have to play a classic concerto with an orchestra (the Glazounov-Ibert type), I choose a reed with a lot of nerveand harmonics. Even if it difficult to play at the beginning,it will subsequently give me a better result. If I have to play chamber music,for example with the Webern Quartet for the clarinet,violin and piano,with very subtle nuances,I will use a reed that is almost soft for me,but in any event never a new reed. In this way,I will know its reactions,its sound projection. The chemical composition of saliva certainly plays an important role in the strength of the reed. I personally have relatively acid saliva.This is why I usually choose reeds that are slightly above my ideal strength. If I take a reed that is a little weak at the beginning, I will not be able to do anything with it at a concert later on. It is therefore possible to have a reed that is a bit strong,even with some breathyness,with some impurity when producing sound,because a reed that has substance can be improved through work.
Becs S15, A17- A28, T20, B35 Anches traditionnelles n3 1/2
T H E VA N D O R E N P O I N T O F V I E W
This column will continue to be a regular feature. You can also see in the former Vandoren magazines the interviews of Ulysse Delcluse and Marcel Mule (#1), Guy Deplus, Lee Konitz, Karl Leister, Fabrice Moretti, Donald Montanaro (#2) The complete interviews will be available on the website http://www.vandoren.com
L A V I S
DE
VANDOREN
The concert is a place where one cannot cheat, it is thus important for one to break in the reeds before a concert to make sure they acquire a reasonable stability
What role does the reed play in producing a sound? An instrument should be considered as an accessory; a mouthpiece and a reed are projections or extensions of our voice. They do not make the sound on their own but contribute to providing some comfort. After that, what is required is a certain amount of work Do reeds have their own language? Actually, one should talk more of a vocabulary that each person adapts depending on his own sensations. The majority of people, however, tend to bring it close to the language of wine. Admittedly, it conjures up images that are both suggestive and poetic. In my view, more acoustic terms should be used, such as the notions of colour, references to fundamental notes or the richness of harmonics. What is a reference reed? For me, a reference reed is one that I have already played, a reed that has been carefully broken in. In this way, it appears to be stable and gives me confidence. What is more, it is very important to have several references. From a practical point of view, this diversity is necessary. The reason is that it enables musicians to adapt to the environment surrounding them (humidity, heat) as well as their physical condition (fatigue, stress) while giving their best performance. In addition, it prevents them from relying on a single judgement that could turn out to be too simplistic Is it important to feel confident with ones reeds? It is vital because in actual practice, doubt is omnipresent. This is why it is important to feel confident about ones material. We are nevertheless relatively lucky in being able to transport our own instrument. Pianists do not have this possibility, which means they must have a great capacity to adapt. By taking refuge in ones material in this manner, can it affect music in any way? For instance, spending hours to choose it? A distinction should be made. It is a waste of time to choose it but not to prepare it. The concert is a place where one cannot cheat, it is thus important for one to break in the reeds before a concert to make sure they acquire a reasonable stability What does this breaking in process entail? It entails a daily use of the reed (5 minutes), which can be spread over about ten days, until it becomes stable and does not weaken any longer. In concrete terms, it is rather like a sportsman who needs to develop his muscles and warm up before making an effort. Once this phase is over, musicians can express themselves without any resistance. Being free from any concerns about their material, they are then able to devote themselves entirely to music. Can this method be used to adapt most reeds to the musician? First of all, I advise musicians to play with reeds that are slightly harder than their reference, and to break them in. But if a reed turns out to be too strong, it can be positioned in a different way on the mouthpiece by lowering it or eventually resurfacing it.
Laurent SULTAN
VANDOREN ARTISTIC ADVISOR
The materials as well as the instrumental technique are only there to serve the music.
Is the reed a fundamental parameter in the creation of sound? There is no doubt that it is the reed that vibrates, without it nothing would happen. It is an indis-pensable component in the elaboration of sound (along with the musician of course). Why are there such diverging opinions with respect to its choice? Can one talk of a language of the reed? To begin with, we do not have the same references. For
L A V I S
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instance, a musician with a narrow mouthpiece will not have the same sensations and, consequently, the same parameters, as a musician playing with an open mouthpiece. What is more, each one has his own notion of what is ideal, and this is why opinions appear to be so different. The terms used to describe a sound are therefore very important. There are, in particular, certain groups. One can refer to a dark sound that is less resonant than a light sound, which could itself be more forceful. However, sound is a complex element that requires several adjectives that are frequently related to the language of wine, which is as sensual and subjective. One can therefore talk of a fruity sound with substance or body. The same subtleties can be found in the relationship established with a reed. Thus, using the same mouthpiece, the desired sound can be obtained from one reed or another, while being aware of the fact that the ideal is a limit that can only be approximated. The ideal reed would therefore be the one that responds to the musician while producing the desired sound according to his criteria. Suppose you find it? Can you then use it as a reference? Yes. However,it serves as a reference at a time and in a place where
it was perfect. For example, in different conditions of humidity or acoustics,a reed that may have appeared to be ideal the day before can turn out to be mediocre, rather like a human being who does not necessarily have the same reactions from one day to another. This is why life as a couple cannot be based on a single string.The musician factor,which varies due to fatigue,stress,etc.,must also be taken into account. And it should not be forgotten that a reed is a natural product. This is why there is no perfect reed,just as there is no perfect man or woman. A musician will nevertheless develop with his reed. This explains why keeping the same reference reed could prevent him from being objective about his material because it would trap him in a rigid judgement in the face of a natural material that evolves.My professor,Henri DRUART often reminded us that the materials as well as the instrumental technique are only there to serve the music. When a musician seeks to be one with his instrument,he in fact requires a palette of reeds,all different from each other but all living up to his ideal. Such a palette would provide him with a significant opening. It would be futile to look for a perfect reed because this would be almost impossible to find.In the case of a couple,on the other hand,the ideal is to develop together. Loving does not mean looking at each other but looking in the same direction, according to Saint Exupry.
Michael SKINNER,
VANDOREN ARTIST RELATIONS MANAGER FOR NORTH AMERICA
NEW
PRODUCTS
Vandorens clarinet swab is the perfect choice for your instrument. The gentle fibers are specially designed to thoroughly clean your clarinet while protecting the delicate finish. Made of high-quality, specially designed microfibers. Strong cord with easy pull-through weight. Best humidity and grease absorption available. Cleans easily with soap and water. Durable and long-lasting for years of reliable use.
REED R E S U R FA C E R
A new reed resurfacer in washable tempered glass. Its surface offers many advantages: a fine and even abrasive that is hardwearing over time.
SAXOPHONE STRAP
Fitted with an innovative hook in coated metal, in a shape specially designed to give a feeling of security and maximum comfort to the musician.
Soon available !
Two models will soon be available: The OPTIMUM AL3 mouthpiece Its easy sound production, owing to its new facing, is the result of collaboration between a team of saxophonists from different backgrounds. The OPTIMUM AL4 mouthpiece This mouthpiece is inspired by the A28 in terms of tip opening and length of facing, with the new OPTIMUM design.
VA N D O R E N S H E E T M U S I C S T O R E
56 RUE LEPIC F 75018 PARIS / TEL 33 1 53 41 83 00 / FAX 33 1 53 41 83 01 EMAIL DIRECT ORDERS : [email protected] / INFORMATION ON SCORES : [email protected]
You will be able to download updates on the Vandoren website (http://www.vandoren.com , Sheet Music Page). Jean-Marie PAUL
We cannot quote here all the new scores, books and CDs that were published in 2001-2002..
clarinet
Methods, Studies 1CL7223 Carbonare, Alessandro. Clarinetto. Tone, art & technique :100 exercices to improve homogeneity (English/Italian/French text). 2nd edition Crousier, Claude. Voyage musical en clarinette : mthode interactive pour dbutants (+CD) Hue, Sylvie. L'apprenti clarinettiste : vol.2 (fin 1er cycle) + English text Maudot,C./ Berrod, Philippe. Doigts des quarts de ton pour la clarinette (Quarter tones fingerings) Rolin, Etienne. Micro-Ludes (Initiation la musique contemporaine) Villa Rojo, J. El Clarinete y sus posibilidades: estudio de nuevos procedimientos (armonicos, cuartos de tono,flatt,) Spanish text only
Mozart +folkl (Bateliers de la Volga, Hatikvah) Orchestration Jrme Naulais. 2CLP211 Verdier, Jean-Franois. Cartes postales : 32 petites pces originales et faciles (partitions cl & pno +CD full & playback) N.B. " Crocnotes ", complements Jean-Nol Crocqs Method. 15 easy pieces. Music for clar. et piano+CD, rf.2CLP156 (version clarinet quartet, sheet music only. : 1CL8312) Clarinet and piano New editions 1CL8495 Bernstein. Sonata (cl & pno) Boosey 2001 (replaces the American original edition 1CL3296) Debussy (Zimmermann). Rhapsody+Petite Piece. URTEXT Peters (Rhapsodie, other ditions : original ed. Durand 1CL1885, Southern 1CL223, orchestral score, Durand : 1CL7257) Saint-Saens (Harvey, Paul). Sonata op.167 (Chester) (other editions : original ed. Durand : 1CL1897 ; score clar. alone+piano playback CD with 3 tempi, Dowani : 2CLP103) Weber (Gertsch/Umbreit). Concertino op.26, Henle 2001 (Urtext version of Weber and version of Carl Baermann) Weber (Gertsch/Umbreit). Concerto N1 op.73 en fa mineur (Henle Urtext, May 2002)
1CL8402 1CL8188
1CL8230
1CL8427 E Flat clarinet, Bass clarinet 1CL8485 Bok, Henri. Bass Clarinet Manual : New Techniques for the Bass Clarinet (2001 edition, published by the author) + audio CD-R Merrer, Jacques.. Traits d'orchestre cl mib vol.1: Bartok Berlioz Britten Copland Dallapiccola Mahler Berio Janacek Stravinsky (E flat Orchestral excerpts, first of a series of 10 volumes ; vol.2 forecast for 2003) Richards, E. Michael. The E-flat clar.of the 21st century. Fingerings (183 alternate, 446 microtones) 419 multiple sounds, 71multiphonics (already published : Bb clarinet (1CL6070), Bass clarinet (1CL6071)
1CL8439
1CL8317
1CL8569
1CL8718.
saxophone
Pedagogy in France 2SAP104 Delangle, Claude / Bois, Christophe. Mthode de saxophone dbutants + Play-Along CD (+60 pices = vol.1, 2000) Vol. 2 is forecast at the end of 2002. Fourmeau, J.-Yves./Martin, Gilles. SaxoTempo: Method for beginners + CD (score piano score provided, with pieces de G. Martin) English/French text Guicherd, Yves. Motivations : mthode +CD (personal compositions with rhythms)
Scores with Play-Along CD 2CLP158 Naulais, Jrme. Clar. cocktail vol.1 (clar. score. + CD ; versions with and without clarinet : J.Fr. Verdier, cl.) facile (vol.2, medium difficulty : 2CLP159) Various authors (Dangain, Guy). Invitation musicale au voyage + PlayAlong CD (Schumann Haydn Schubert Bach Naulais
2SAP267
2CLP207
2SAP227
2SAP264
1SA4963
2SAP278
Ecouter, lire, jouer : vol.2 sax alto +CD (2SAP266 : sax tnor vol.2+CD) (mthode De Haske, Vol. 3 : prvu sept. 2002 ; pour complter la mthode : les trios pour mib vol.2, 1SA5065) Di Betta, Philippe. Ebauches (sax alto & pno) (4e-5e anne, approche de la musique contemporaine) Kientzy, Daniel. Saxologie. Thse 595 pages.+CD. Pour les 7 sax : modes de jeu (enveloppe, effets spciaux), acoustique...
2SAP289
vol.1 & 2 : 2SAP212,2SAP213 ; sib 1 & 2 : 2SAP256/2SAP257) Folk and modern pieces Misc. authors (Michat). Saxofolk : 13 pices faciles + full & playback CD(sax+piano) From Greensleeves to Tanaka
Jazz (Sax/Clar)
France Allerme, J.M. : Jazz attitude 2 vol.+CD (clar.2CLP216 & 219 ; sax :2SAP281/282) Barret, Eric : 1SA5001 : Solos jazz pour sax alto (10 pices initiation au jazz) ; 1SA4617 : La Pratique du saxophone vol.1 Pellegrino, M. : Jouez les grands thmes du jazz : initiation, 2 vol.+CD (clarinet : 2CLP44/2CLP111 ; alto/tenor sax. : 2SAP155/202) ; and " Jazzy Melo " (2, 3, or 4 clarinets, very easy +CD : 2CLP214)
General books 1SA4759 Habla, Bernard Solo-Saxophon und Blasorchester (Reportory of works of solo sax and band) et les livres en allemand de Gnter Dullat sur la facture instrumentale, les brevets de saxophone (1SA4956/4957/4958) Umble, James (+Street, W.) J.M Londeix Master of the modern saxophone (French/English text + commentary of works : Caplet, Villa-Lobos, Lauba, etc.) Ventzke/Raumberger. Die Saxophone
1SA4631
1SA4845
U.S.A./G/B (Collections) Two collections (easy) with numerous titles now : " Guest Spot " (G.B.) et " Take the lead " (USA). The Aebersold series has now more than 100 titles. Vol.102 : Jerry Bergonzi (ref.2SAP279) and vol. 103 : David Sanborn (2SAP280)
Philippe CUPER is a professor at the Conservatory of Versailles and a Super-Soloist at the Paris Opera (a competition he won in November ; since 1984 he was First Clarinet). He has been invited to play with the Philharmonic Orchestra of Berlin and has won seven international prizes (Munich, Prague, Vercelli, Geneva, Orvieto, the Slovak Prize and Saint Petersburg). In 2001, Philippe Cuper was behind the initiative of a CD (he wrote the libretto) devoted to Louis Cahuzac (DANTE LYS 366), a record that is now sold out. Philippe CUPER has recorded the complete works of CAHUZAC,after the original manuscripts, but they are not yet available. A book is also in the process of being written.
The jury was composed of Michel ARRIGNON, Guy DANGAIN, Guy DEPLUS, Max COSTE, Philippe CUPER, Hans-Peter RAAS (Switzerland), Ronald VAN SPAENDONCK (Belgium) and the composers Jean AUBAIN and Paul MEFANO. Three other personalities were unable to participate: Henri DRUART, Hans-Rudolf STALDER and Gilbert VOISIN. Some members of the jury were former students of CAHUZAC: Messrs. COSTE, RAAS, STALDER and VOISIN (the latter having been one of the teachers of Philippe CUPER). The First Prize was awarded unanimously to Jean-Luc VOTANO (Belgium), who is now soloist of the Liege Philharmonia Orchestra The Second Prize was awarded to Vincent CHAIGNET (France), who already won the 3rd Prize of the Francaix International competition in 1999. Some of the participants came from Asia and Mexico All the details (including those for other recent and future competitions for the clarinet and saxophone) will be published on the site www.vandoren.com
D.R.
Eugene 1905
LA DIFFERENCE!
1905
56 rue Lepic, 75018 PARIS Tl. (33) 1 53 41 83 00 Fax (33) 1 53 41 83 01 email : [email protected]
Registration of Copyright, Bibliotheque Nationale, Paris, january 2003 Publication Manager : Bernard VAN DOREN, Editor : Jean-Marie PAUL. With the contribution of :Anne-Sophie VAN DOREN (interviews of Vandoren advisors), Jean-Marie PAUL (interviews of musicians, new scores), Nicolas ROUX DIT BUISSON (photos, unless otherwise specified) La Maison : (33) 1 40 90 02 20