Volume 33 Number 3 June 2006 - International Clarinet Association

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down the lively interpretations of Weber and his very close friend Heinrich Baermann has turned out to be a sort of myth. END NOTES 1 The volume was published in 2005 by Schott Musik International at Mainz as Series VI, Volume 3 and is edited by Gerhard Allroggen, Knut Holtstraeter and Joachim Veit. A practical edition of the Clarinet Quintet had been published before by Allroggen/ Veit with Schott (ED 9186), the Variations and the Duo now appeared in practical editions too (Schott KLB 58 and 59). The inital quotation is to be found in vol. VI/3 on p. 136. 2 Published in 1870 as C. M. v. Weber’s Compositionen für Clarinette mit Piano [Weber’s compositions for clarinet and piano] as volume IX of the Gesammt-Ausgabe by Adolph Martin Schlesinger/ Robert Lienau. 3 Cf. pp. 206–275 of the volume. The editors used two symbols in order to distinguish between Weber’s additions in the engraver’s copy-text: additions not to be found in the autograph have a black arrow, additions corresponding to the autograph (but missing in the copyist’s text) have an open arrow 4 This digital edition was only a first attempt to use the power of the visual media for musical editing. The resulting Edirom-project is preparing further editions on completly revised technical conditions. More information can be found at (at the moment only in German, an English version is in prepration). 5 The engraver’s copy-text still existed in 1922, when it was auctioned at Henrici in Berlin (Catalogue 80, No. 604). There may be some hope that this source shall reemerge some day. The Weber edition in the future will present new discoveries or new details concerning the published volumes on its homepage: . ABOUT THE WRITER… Prof. Dr. Joachim Veit studied music education and musicology at Saarbrucken and Detmold in 1988. His doctoral thesis was “The early works of Weber and the influence of the Mannheim musicians Abbé Vogler and Franz Danzi.” Since 1988 he has been engaged in Weber research beginning with the project of a new edition of Weber’s letters, which was later part of the new edition of Weber’s musical works. He is he co-editor of the Weber-Studies and chief editor of the Weber edition (Editionsleiter) and since 2006 the head of the German research foundation project on digital music editions (“Edirom”). His major editions include Paul Vranicky, Oberon (1993), C. M. v. Weber, Symphonies (2002), Abu Hassan (vocal score 2003; score in preparation), Abbé Vogler, Requiem (in preparation, 2006) and numerous articles on the Mannheim school of music. Carl-Maria-von-Weber-Gesamtausgabe, Seminar for Musicology, Detmold/Paderborn, Gartenstrasse 20, D-32756 Detmold; E-mail: . “Take 3” in this series, surveying the movies in which Benny Goodman and his band appeared, continues with films produced during World War II, including two feature-length productions and a somewhat obscure short documentary. “Take 4” in the September issue will be devoted entirely to the semi-autobiographical Sweet and Low-Down from 1944. The Movies of Benny Goodman A Pictorial Retrospective Take 3 by James Gillespie STAGE DOOR CANTEEN, 1943, UNITED ARTISTS Set during World War II, the Stage Door Canteens were operated by the American Theatre Wing for servicemen on leave. Here the film’s main locale is the canteen in New York run and staffed by movie stars and stage personalities with more than 60 well-known entertainers making cameo appearances, including Katharine Hepburn, Harpo Marx, Ray Bolger, Edgar Bergen and Ethel Merman (see Photos 1–3). The slight, hokey plot concerns three soldiers who fall for canteen workers while on furlough in New York City. It received two Oscar nominations in 1944, one for Freddie Rich for his Best Song Scoring of a Musical Picture and another in the Best Song category for “We Mustn’t Say Good Bye.” The orchestras that appeared included Count Basie, Kay Kyser, Guy Lombardo, Xavier Cugat, Page 44 THE CLARINET
Freddie Martin and, of course, the Benny Goodman Orchestra playing a rousing “Bugle Call Rag” and a steamy “Why Don’t You Do Right” with a beautiful young Miss Peggy Lee singing one of her first big hits. Both of these are included on the Benny Goodman, The Centennial Collection CD/DVD set (see Bibiliography and Photo 2). Goodman’s portion of the film was completed in New York during the band’s engagement at the Hotel New Yorker. 1 The band’s personnel Photo 1. Movie booklet cover Photo 2. Movie brochure. Note Miss Peggy Lee and the BG band in the center. Photo 3. Magazine ad included: Conrad Gozzo, Carl Poole, Steve Steck (trumpets); Jack Jenney, Charlie Castaldo (trombones); Hymie Schertzer, Clint Neagley (alto saxophones); Jon Walton, Al Klink (tenor saxophones); Ted Goddard (baritone saxophone); Jess Stacy (piano); Dave Barbour (guitar); Cliff Hill (bass); Louis Bellson (drums) 2 . THE GANG’S ALL HERE (U.S.), THE GIRLS HE LEFT BEHIND (U.K.), BANANA SPLIT (FRANCE), 1943, 20TH CENTURY-FOX, BUSBY BERKELEY, DIRECTOR Considered by many to be Busby Berkeley’s most elaborate masterpiece of over-the-top campiness with its mesmerizing and kaleidoscopic production numbers featuring the Brazilian Bombshell, Carmen Miranda, the banana chorus line is a highlight as is Carmen’s “The Lady in the Tutti Frutti Hat.” In stunning Technicolor, June 2006 Page 45
Page 1: Volume 33 Number 3 June 2006
Page 5: INTERNATIONAL CLARINET ASSOCIATION
Page 8 and 9: ut you have no idea where you might
Page 11 and 12: It is not necessary to recognize th
Page 13 and 14: Bach didn’t care. The melodic con
Page 15 and 16: June 2006 Page 13
Page 17 and 18: CRI 724 — Philip Batstone: A Moth
Page 21 and 22: coachings with various faculty, orc
Page 25 and 26: such to be in an accoustically corr
Page 27 and 28: last time I saw Jack. I was teachin
Page 29 and 30: in Birmingham, Alabama under Dr. Do
Page 31 and 32: Michael Gerchack and Phil Rovner wi
Page 33 and 34: Call for Proposals: CLARINETFEST®
Page 35 and 36: contribute favorably only to the ex
Page 37 and 38: The EclecticTrio: Recommended Trios
Page 39 and 40: charming. There is considerable cou
Page 41 and 42: Backofen, Johann Georg Heinrich. An
Page 43 and 44: Critical Notes list all these detai
Page 48 and 49: Photo 4. Movie trade journal ad Pho
Page 50: The Use of the Clarinet by the Mora
Page 54 and 55: our lane, and we were all overcome
Page 56 and 57: _____. The Clarinet in the Classica
Page 58 and 59: This is not dry music. In the gener
Page 60 and 61: The University of Georgia and the U
Page 62 and 63: Mark Nuccio Paulo Sergio Santos Dav
Page 64 and 65: y Jaime Titus Dr. Donald E. McGinni
Page 66 and 67: Outside the university, he enjoyed
Page 68 and 69: Hyacinthe Klosé (1808-1880): His W
Page 70 and 71: asse) published by Leduc, and vario
Page 72 and 73: 14ème SOLO for clar. & piano, or q
Page 74 and 75: Medley with Digressions Page 72 by
Page 76 and 77: How to Help Your Students Build a C
Page 78 and 79: in July 1965, and played a number o
Page 80 and 81: Dr. Ian Jewel is Professor of Viola
Page 82 and 83: MUSIC REVIEWS by Himie Voxman Johan
Page 84 and 85: Following up on his collaborative r
Page 86 and 87: using this technique that was once
Page 88: the young clarinet students in that
Page 92 and 93: Greetings from Utah! As I write my

Volume 33 Number 3 June 2006 - International Clarinet Association

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