Churchill Fellowship – Harrison History

The Fellowship was created in 1965 as the living legacy of Sir Winston Churchill for the nation. It aims to honour his memory and spirit in a unique community of changemakers across the UK.

“There is nothing wrong in change, if it is in the right direction. To improve is to change, so to be perfect is to have changed often.” – Sir Winston Churchill

Honouring the spirit of Sir Winston

The idea for the Churchill Fellowship was developed in the last years of Sir Winston’s life and with his approval. It closely reflects his own concerns, with an emphasis on opportunities for individuals from all walks of life, international learning and discovery, and practical innovation in every area of society. These were elements which he strongly supported in his own life and in the formation of the Fellowship, and together they have created a remarkable resource for the nation.

In his own life, Sir Winston was not only a global public figure but also a lively and often self-taught enthusiast for a huge range of interests – from bricklaying to beekeeping, to painting and writing, for which he was awarded the Nobel Prize for Literature in 1953. He was, too, an early adopter of new technology, such as oil-fired engines for ships and radar for aeroplanes. And in politics, he was a very early champion of social policies including state pensions, unemployment insurance and public health care.

Today’s Fellowships continue this spirit of curiosity and change, of universal interest and public service. Above all, they echo his enduring belief in the potential of the individual, whatever their circumstance or adversity, to achieve great things.

https://www.churchillfellowship.org/about-us/our-story/

https://www.churchilltrust.com.au/

CHURCHILL FELLOWSHIP RECIPIENTS

Tim White

Jack Harrison received a Churchill Fellowship in 1971.

5 IN W.A. GET CHURCHILL FELLOWSHIP

Five West Australians have won Winston Churchill Fellowships for 1971.

They are: Mr Jack Louis Harrison of City Beach. Mr Harrison (39) is a clarinettist with the W.A. Symphony Orchestra. He is well known for his teaching work as well as his work with the orchestra. He showed remarkable talent for music as a young child. He will go to Britain, the United States and France to study under clarinet players of international standing.

The West Australian Thursday November 5 1970

MUSICIANS RETURNS FROM STUDY TOUR

November 1971

Mr Jack Harrison has returned from five months overseas with copies of new clarinet concertos one of which has not been played in Australia. Mr Harrison, who is the W.A. Symphony Orchestra principal clarinet was awarded a Winston Churchill Fellowship to study advanced teaching methods and look for new chamber and orchestral music in the UK, Europe and the United States. The Concerto, which has had to be publicly played here, was composed by Scottish composer Thea Musgrave. Mr. Harrison said that the score called for the soloist to move around and take up positions in various sections of the Orchestra playing several minutes with each section and giving individual players cues to play solo. The clarinet conducted the rhythm of the Orchestra disregarding the conductors overall tempo. The West Australian Tuesday November 2 1971

MUSIC

By MARY TANNOCK

A Churchill Fellowship winner clarinettist Jack Harrison, has returned from a round the world study tour. He said that one of the major benefits of the Fellowship had been the opportunity to discuss playing techniques with world class musicians. ”In Perth, we are faced with a 1500 mile trip to Adelaide if we want to expose ourselves to another musical environment”, he said. “In London, New York or Paris another Orchestra, another conductor and different players are only a bus ride away.” In nine weeks he attended 19 Symphony concerts given by the BBC Symphony Orchestra, the Scottish National, the British National Youth, the London Symphony the Welsh Symphony and the Leningrad Philharmonia as well as attending 11 rehearsal sessions. He also observed six commercial recording sessions. Conductors studied during the period included Pierre Boulet, Alexander Gibson, Sir Adrian Boult, Norman Del Mar, Colin Davis, Charles Mackerras, André Previn, Daniel Barenboim, Wyn Morris, John Pritchard, Gennadi Rozhdestvensky, Malcolm, Jascha Horenstein, Theo Alcantara, Joseph Krips, George Watson, Claudio Abbado, Lorin Maazel and Neville Mariner. Mr. Harrison also made a study of clarinet manufacturer including that of the LeBlanc family in France. Another visit was to the workshops of the highly skilled Hans Moennig in Philadelphia. A further feature of his fellowship was the study sessions with some of the world’s leading clarinets, including Gervais de Peyer, Jack Brimer, Bernard Walton and Jack McCaw. He chose to study in London because of his intense admiration for the tonal quality of the so-called English school of playing. He also reviewed teaching methods in England and America including those at the Juillard and Curtis Institutes. He said that teaching practice in Perth was comparable in standard – though the lavish scale of some of the institutions made teaching easier. to overcome the problem of Perth’s isolation. He suggested that the Perth Central Music Library introduce a worldwide listing of new publications.

The West Australian Saturday December 4 1971

WORLD TOUR WITH HIS CLARINET

The opportunity to discuss playing techniques with world class musicians was a major benefit of West Australian Symphony Orchestra clarinettist Jack Harrison’s round-the-world study tour on a Churchill Fellowship. ”In Perth, we are faced with a 1500 mile trip to Adelaide if we want to expose ourselves to another musical environment”, said Mr Harrison, who is pictured right. “In London, New York or Paris another Orchestra, another conductor and different players are only a bus ride away.”

Radio Active Series 2, Vol. 8, No. 2 March 1972

MAKE MINE MUSIC

ABC 2^nd YOUTH CONCERT

Featuring the West Australian Symphony Orchestra

Conductor Tibor Paul

With soloist Jack Harrison (clarinet)

Winthrop Hall

7pm May 9 1972

Soloist tonight is Mr. Jack Harrison. Mr Harrison is a versatile performer as you will have observed from the biography in your program. We are pleased to have him perform on the clarinet this evening, one of the less frequent of solo instruments of the concert hall platform. Charles Villiers Stanford originally dedicated his Clarinet Concerto to Richard Muhlfield a player who had inspired Brahms to write a clarinet Trio, clarinet Quintet and two sonatas. However, after Stanford had conducted a performance with the clarinettist Frank Thurston, the work was rededicated to Thurston. Jack Harrison heard a BBC transcription of the work about 18 years ago and when in London last year on his Churchill Foundation Scholarship discovered that the work had never been published in a clarinet and piano reduction version. This accounts for the piece being relatively unknown. Mr Harrison approached the publishers of the hire parts, Stainer and Bell, who agreed to give him his own photocopy of the solo clarinet part and when the opportunity arose, he decided to play it for this Youth Concert. Authorities recognise the work as a valuable addition to the clarinet repertoire. Gervaise de Peyer and Jack Brimer both think that it is a good concerto.

Make Mine Music (Perth Youth Concerts Committee) No. 2 1972

Congratulations – we’re lucky to have you, Mr Paul

By Robert Gude

If conductor Tibor Paul thought the rousing ovation he received at this week’s Youth Concert was simply urging him on for an encore, he misjudged his young audience. It is customary for audiences who want more for their money to stomp and holler hoping for a kind of bargain basement addition to the printed program. Such was not the case following the WASO’s fine performance of the titanic Fifth. Every section without exception excelled in alternating dynamics and delicacy, Mr Paul conducting without a score, was in complete command with his subtle sweeping cues and characteristically spare, precise beat. Jack Harrison was heard in a fine reading of Stanford’s Clarinet Concerto. Mr Harrison alone saved this plain, uninteresting work bearing shades of Elgar and a momentary sally in Wagner. For one brief moment, an elegant melody carried by the entire string section could have lent unusual character to this concerto – had Stanford continued variations on this theme for solo clarinet, developing and alternating this material into meaningful music. Mr Stanford chose however to leave this melody suspended in mid-air, a la Bruckner, never to be heard again. Mr. Harrison came upon this work during his recent Churchill Foundation study tour and brought it to us as an example of fine writing for clarinet. This it was beyond doubt propelled by Mr Harrison’s undoubted skill and this was reflected in the fine reception he received from a young audience which appreciates his enormous talents. The program opened with Stravinsky’s orchestral suite from the ballet “The Fairy’s Kiss” one of this great Russian, French, American’s gentler works. What could go unnoticed was the excellence of harpist, Michael Jefferies, the first chair solo quartet provided by leader Vaughn Hanly, Stanislav Kowarski (second violin) George Coleman (viola) and Raymond Fraser (cello) and, again risking reputation, the WASO’s splendid horn section led by Neil Pierson. Concert audiences in Liverpool, England still recall with awe and admiration Mr. Paul’s appearance on the podium of the Royal Liverpool Philharmonic last October. Here, beyond question, is a conductor of world standing. The A.B.C. the WASO and Perth concert audiences should appreciate the nature and global reputation of Mr. Paul while he is with us, they should count themselves fortunate.

Sunday Independent May 14 1972

In September 1973 Jack was invited by Ivor Meddleton to be an artist on the second Churchill Fellows’ L.P. recording. The artist was asked to donate their time, to be recorded at the closest A.B.C. studio and the cost of the accompanist covered by The Winston Churchill Memorial Trust.

Jack replied that he would be happy to contribute. “Listed below are three pieces, any one of which would be suitable and I will leave the final choice in your hands:-

“Concerto for Clarinet and String Orchestra” by Malcolm Arnold – my reasons for including this work is that I am performing this piece of music with the W.A. Symphony Orchestra during the month of November and the A.B.C. has agreed to allow a recording to be made for the Churchill Trust. Another reason is that there is, to my knowledge, no commercial recording of this concerto. As I will be concentrating on this piece for the next six weeks, I would naturally favour it as my choice.

“Sonatina” for Clarinet and Piano” by Malcolm Arnold

“Sonata for Clarinet and Piano” by Poulenc

He recorded the Poulenc with Stephen Dornan (piano) and was the first Australian recording of the work.

Music – By Peter Hellstrom – September 1976

A visit by clarinetist Jack Harrison to the Eastern States this week raises the point again of how some fine Western Australian musicians need more recognition. Mr Harrison, who was granted a Churchill Fellowship in 1971, was invited recently to take part in the official opening concert of the Canberra School of Music next Tuesday. As principal clarinet of the W.A. Symphony Orchestra and a brilliant soloist, he will play a Sonata written by Antoni Szalowski with piano accompaniment. News of this invitation resulted in two more invitations… to perform with the Australian Contemporary Music Ensemble in a Schoenberg suite for seven instruments including three clarinets – and to give a performance in Brisbane for the Chalumeau Society, the Queensland equivalent of the W.A. Flute Society. Monday night’s performance will be at the Canberra School of Music and the other two clarinettists will be Don Westlake the Principal Clarinettist of the Sydney Symphony Orchestra and Murray Khouri, Professor of the clarinet at the new school in Canberra. Mr. Harrison will not be able to give the Brisbane performance because of lack of time. He pointed out this week before leaving Perth that with this brief Leave of Absence from the W.A. Symphony Orchestra he was getting a rare opportunity to hear and perform with leading instrumentalists from other states. And this is my point: such travels by distinguished W.A. executants are essential for them to assess and reassess their own standards, to refresh themselves and interstate performers and to absorb atmosphere which will benefit themselves and thus general performance standards when they return. Sabbatical leave is granted after seven years to academics and generally we profit by it. The Churchill Trust which enabled Mr Harrison to travel before and is doing so this time, has helped many performers as well as people in other spheres. However, it cannot finance everything and everybody. If universities can grant sabbaticals, why cannot some similar system be created for the best full-time performing musicians? If the Federal Government, Liberal and Labor, can spend millions of dollars on buying artworks and such items as travelling Chinese art as well as helping to finance or partially finance some of the so-called creators and creations that pass for art in the broad sense, it could help in such a scheme. It could do so by reappraising the merits and priorities. No wonder we lose some of our best performers when their geographical isolation is aggravated by lack of opportunity for the equivalent of financed sabbaticals. A lot end up by trying their luck interstate or overseas finding success and staying there. Others are left lamenting or stay on depending either on their employment in orchestra,s any work that the University of W.A. can give them, a few ABC broadcasts and teaching. There may not be any geniuses in W.A… I don’t know… but there are some performers worthy of more opportunities than they can hope to get here. Who knows if some reallocation of obviously limited funds was made, we might find many more potentially noteworthy executants. Perhaps the State Government as well as the Commonwealth could look at the matter. (Sir Charles Court please note). The only proviso is that high standards should apply. I think that quite a number would measure up.

The West Australian Saturday September 25 1976

Some of the musicians who have been awarded Churchill fellowships and who will take part in a concert at the Canberra School of Music tonight to mark the 10^th anniversary of the Churchill Trust, at the school yesterday. From left: Victor Grieve, Kerry Smith, Jack Harrison, Rhonda Vickers, Ailsa McCristal, Pamela Bryce, Sylvia Wade, Ronal Jackson and Phillip Miechel. The concert, which will be broadcast by the ABC, will include works by Dvorak, Ravel, Mozart, Thomas, Weber and Byrd. The program has been chosen by the trust’s musical advisor, Sir Bernard Heinze.

The Canberra Times Tuesday September 28 1976 page 4

A light interlude of mixed Australian talent – 8.15pm Tuesday 28^th September 1976

As part of the opening festival of the new School of Music building, and to celebrate at the same time the 10^th anniversary of the Winston Churchill Memorial Trust, a special concert on Tuesday night brought 11 former Churchill fellows from all parts of Australia to appear in a concert of great variety and interest. With so many individual artists each presenting one or two short items, it was not the sort of concert which could or should be reviewed in depth. But it did make a very pleasant evening which demonstrated the talents of some of the Australian performers who have received fellowships over the past 10 years. The program ranged from early harpsichord music played by Rhonda Vickers to Donald Hollier playing his own “Sonatina for Piano”, as wider contrast as any program could offer. Two violinists were featured, Kerry Smith in pieces by Bloch and Wieniaski, and Pamela Bryce who played Ravel’s “Tzigane”. Two clarinets were also included, Phillip Miechel playing two movements from the “Grand Duo Concertante” for clarinet and piano by Weber, and Jack Harrison with a very attractive “Sonatina for clarinet and pian”o by the contemporary Polish composer Antoni Szalowski. The other instrumentalists were French hornist Victor Grieve and cellist Christian Wojtowicz, the latter making a welcome return to Canberra having taught from 1971 to 1973 at the School of Music. Finally, there were a brace of singers, mezzo Sylvia Wade and baritone Ronal Jackson. The accompanists were Ailsa McCristal and Rhonda Vickers.

The Canberra Times Thursday September 30 1976 page 23

https://www.churchilltrust.com.au/fellow/jack-harrison-wa-1971/

Jack Harrison Churchill Fellowship Report

The Winston Churchill Memorial Trust

Final Report

Submitted by

Jack Louis Harrison

Churchill Fellow 1971

Perth, 10^th November 1971

THE TRUSTEES

Dear Sirs,

It is with much pleasure that I present a report of my activities as a Churchill Fellow.

This was my itinerary: –

July 25^th Paris

August 1^st London

September 30^th New York

October 6^th Ann Arbor

October 8^th Interlochen

October 14^th Perth

This itinerary proved satisfactory, but I would like to make a general comment, that in planning from this distance, it is not always possible to know how productive or otherwise a particular visit will be. Had I known, for instance, about the Arts Academy in Interlochen, I would have included this in my planned itinerary. As it was, I was fortunate enough to fit in a brief visit which proved most productive. The best solution to this problem that I can suggest, is to allow rather more uncommitted periods in the itinerary.

My aims in applying for a Fellowship were:-

To benefit from exposure to an international musical environment by attending concerts, rehearsals, recording sessions and chamber music.
To observe the manufacture of clarinets and clarinet reeds at first hand.
To undertake consultative lessons with leading clarinettists in England.
To confer with leading teachers and visit music schools to ascertain the latest trends and methods in clarinet teaching, both class work and individual tuition.
To evaluate the current clarinet repertoire by discussion with players and visits to publishing houses and libraries.
To enlarge and improve my knowledge of the clarinet as a player and teacher, in all aspects.

SECTION A

To benefit from exposure to an international musical environment by attending concerts, rehearsals, recording sessions and chamber music.

I attended the following Symphony Concerts (unless indicated, all these concerts took place in the Royal Albert Hall as part of the 1971Sir Henry Promenade Concert Series – “The Proms”.)

11^th June Scottish National Orchestra, Aberdeen,“Siegfried”[1]

13^th June Harpsichordist Peter Williams, Bach Preludes and Fugues

20^th June London Symphony Orchestra, Andre Previn

9^th July Florence Teatro Comunale, Madame Butterfly

13^th July Rome, Aida, Roman Ruins

20^th July Ella Fitzgerald, Tom Flannigan, Ed Thigpen, Frank Delarosa

22^nd July Paris Folies Bergere

3^rd August BBC Symphony Orchestra, Pierre Boulez

5^th August BBC Symphony Orchestra, Pierre Boulez

9^th August Scottish National Orchestra, Alexander Gibson

11^th August BBC Symphony Orchestra, Sir Adrian Boulte

13^th August BBC Symphony Orchestra, Norman Del Mar

16^th August BBC Symphony Orchestra, Colin Davis

21^st August BBC Symphony Orchestra, Charles MacKerras

23^rd August National Youth Orchestra, Pierre Boulez

1^st September London Symphony Orchestra, Andre Previn –

Soloist, Gervase de Peyer. Usher Hall Edinburgh

3^rd September BBC Symphony Orchestra, Daniel Barenboim

4^th September BBC Welsh Symphony Orchestra, Wyn Morris

7^th September BBC Symphony Orchestra, John Pritchard

9^th September Leningrad Philharmonia Orchestra, Gennadi Rozhdestvensky

10^th September Leningrad Philharmonia Orchestra, Gennadi Rozhdestvensky

13^th September Leningrad Philharmonia Orchestra, Gennadi Rozhdestvensky

14^th September BBC Symphony Orchestra, Malcolm Arnold

15^th September BBC Symphony Orchestra, Jascha Horenstein

16^th September London Symphony Orchestra, Colin Davis

6^th October University Symphony Orchestra, Theo Alcantara, Ann Arbor, U.S.A

Of the concerts I attended, I felt that the Mahler Ninth Symphony on August 5th and the “Rite of Spring” on the 16th September were particularly outstanding performances.

Another memorable performance was of the Thea Musgrave Clarinet Concert with the soloist, Gervase de Peyer, accompanied by the London Symphony Orchestra. I made a special trip to Edinburgh to attend the rehearsals and performance of this. The work is in a modern idiom, but not so extreme as to become a purely academic exercise, and calls on the soloist to move about the orchestra and take up different positions to cue individual solos apart from the Conductor’s over-all control of the orchestra. At one stage near the end of this work, while the conductor is conducting a tranquil passage for the orchestra, the soloist turns to the percussion section and conducts them in a wild tempo, disregarding the rest of the orchestra. This work is a visual spectacle as well as a listening experience and would be suitable for inclusion in a Youth Concert or for an audience sympathetic to new experiments on the concert platform. Mr de Peyer’s flamboyant approach to the concerto performance added vitality to an exciting rhythmical work. I had the pleasure at this time of meeting the composer, Thea Musgrave, who arranged with her publisher, T.W. Chester, to photograph the solo clarinet part for my own personal study.[2]

REHEARSALS

2^nd August B.B.C. Studios. B.B.C. Symphony Orchestra, Pierre Boulez

18^th August All day rehearsal Croydon National Youth Orchestra, Pierre Boulez

20^th August Morley College, London Philharmonic Orchestra, (woodwind and brass), Joseph Krips

29^th August George Watson College, Edinburgh. London Symphony Orchestra, Andre Previn

30^th August George Watson College, Edinburgh. London Symphony Orchestra, Andre Previn and Claudio Abbado

1^st September Usher Hall, Edinburgh. London Symphony Orchestra, Andre Previn

2^nd September Usher Hall, Edinburgh. London Symphony Orchestra, Claudio Abbado

3^rd September B.B.C. Studios London, B.B.C. Ensemble, Pierre Boulez

12^th September Croydon Amateur Orchestra, Hans Hubert-Schonzeler

13^th September Festival Hall. Festival Ballet Orchestra.

1^st October Metropolitan Opera Co., New York Orchestra and cast rehearsing “Fidelio”.

I found the rehearsal techniques of international conductors working under English conditions most educational, as they displayed many different ways of attaining an excellent concert.

COMMERCIAL RECORDING SESSIONS

11^th August Walthamstow Town Hall. London Symphony Orchestra, L’Almedio. Orchestral Excerpts for an American Educational Library.

27^th August All Hallows Church, New Philharmonia, Lorin Maazel. “Scheherezade” by Rimsky-Korsakov

28^th August All Hallows Church, New Philharmonia, Lorin Maazel.

“Peter and the Wolf” and “Young Persons Guide to the Orchestra”.

14^th September Walthamstow Town Hall. The Academy of St Martin-in-the-Fields, Neville Marriner – soloist Alan Civil, Mozart Horn Concerto.

15^th September Walthamstow Town Hall. The Academy of St Martin-in-the-Fields, Neville Marriner – soloist Jack Brymer, Mozart Clarinet Concerto.

17^th September Walthamstow Town Hall. The Academy of St Martin-in-the-Fields, Neville Marriner – soloist Jack Brymer, Mozart Clarinet Concerto.

I count as one of the highlights of my Fellowship being present at the recording of Mozart’s Clarinet Concerto by Jack Brymer with the Academy of St Martin-in-the-Fields, a small chamber orchestra. Incidentally, this was the third commercial recording of the Mozart Concerto to be made by this distinguished soloist.

CHAMBER MUSIC

22^nd September Royal College of Music, Bernard Walton playing Brahms Quintet.

8^th October Interlochen Arts Academy. Dusha Quartet playing “Contrasts” by Bela Bartok and “Quartet for the End of Time” by Messaien.

As, under Australian Conditions, the greater percentage of my playing is orchestral, I felt it wise to devote a large proportion of my limited concert-going time to orchestral rather than chamber music.

It should be noted, however, that I undertake as much chamber as I can and I consider that there will be a notable flow on into this field from my studies.

SECTION B

To observe the manufacture of clarinets and clarinet reeds at first hand.

The Leblanc Clarinet manufacturing concern is one of the largest in the world, with factories in France and America. Having met Leon Leblanc in Australia, I was shown over two of these factories by Leon and his nephew, Gerard.

The Leblancs devoted a considerable amount of time to me in discussions which ranged over the whole area of clarinet manufacture. The personal contact with “the boss” proved most valuable.

Another beneficial visit was to Hans Moennig in Philadelphia, U.S.A. I spend about four hours talking to him and observing the techniques employed by this very skilled craftsman. Mr Moennig, whose time is eagerly sought after by leading woodwind players in America, was kind enough to spare me a further two hours during which he worked on and improved the performance of my instruments by fine tuning a few notes and giving certain pads more clearance to give the instruments freer blowing qualities. I count my visit to Mr Moennig a great privilege.

A further most instructive session was that which I had with Gervase de Peyer in London on the subject of mouthpieces and how they may be adjusted to suit individual players by altering the proportion of the lay. This is a highly skilled and delicate operation which has not been attempted to any great extent or success in Australia. To have seen this work at first hand has given me the necessary know how and “courage” to continue this experimentation on my own.

While in France, I visited the Vandoran reed and mouthpiece factory and was able to inspect the complete processes involved. I must point out that this visit required the personal recommendation of Gerard Leblanc to Vandoran, because under normal circumstances visitors are not shown over this factory.

SECTION C

To undertake consultative lessons with leading clarinettists in England.

The Artists with whom I worked were:-

Gervase de Peyer (Principal Clarinet with the London Symphony Orchestra)
Jack Brymer (Principal Clarinet with the B.B.C. Symphony Orchestra)
Bernard Walton (Principal Clarinet with the London Philharmonic Orchestra)
Jack McCaw (Principal Clarinet with the New Philharmonia)

I had met previously in Australia both de Peyer and McCaw and this proved most helpful in getting away to a good start in London.

My reason for choosing London was based on my intense admiration for the tonal quality of the so called English School of clarinet playing. To ensure that I obtained the best value from my teachers, I arranged to work in specific areas without overlap. For example, with Gervase de Peyer I studied the “Rossini Variations” in depth.

Mr Jack Brymer introduced me to some new music for clarinet, soprano and piano, the most significant was “Sechslieder” by Spohr, at which we worked in depth. “Contrasts” by Bartok was another work that we studied in detail.

With Bernard Walton, I discussed basic posture and breath control and common faults in these matters and how best to go about eradicating such faults. My personal playing benefitted from these sessions in certain technical aspects.

Because I, myself, play French style instruments, I was interested to find that Jack McCaw was one of the few clarinettists in London playing similar instruments. These are built with a narrower bore than English clarinets, and I felt that his tonal quality was most English, more so that one would expect from a French instrument. We discussed his choice of these instruments and he claimed that he coild play with more surety of intonation than with the larger bore English instruments. However, to achieve his tonal quality, he uses a larger bore English mouthpiece, but this necessitates the retuning of some notes on his French instruments. I fell that Mr McCaw’s sound compares favourably with the clarinettists using English instruments, and this session showed me a direction in which to proceed in moulding my playing towards producing and English quality with French instruments.

SECTION D

To confer with leading teachers and visit music schools to ascertain the latest trends and methods in clarinet teaching, both class work and individual tuition.

I grasped every opportunity to discuss with the English players, also with Professor William Stubbins and Daniel di Cicca at the University of Michigan, U.S.A., current practice in teaching. The conclusion that I have drawn from these discussions is that teaching practice in Perth, both individual and class is definitely comparable in standard.

I was able to visit and inspect two of the foremost music schools in America, the Juilliard and the Curtis Institute.

Mr Geoffrey Michaels, formerly of Perth, who had been on the staff of Curtis as well as studying there, was able to show me over this famous school.

At the secondary level, the only school I was able to visit was the Arts Academy of Interlochen, Michigan, U.S.A., where again I had the pleasure of being shown over by an ex-Perth musician now teaching there. This was Mr. Brian Hanly, son of Vaughan Hanly, the Concertmaster of the West Australian Symphony Orchestra.

My over-riding impression of these schools was the lavish scale on which they are equipped, which obviously makes for easier teaching. This is something that could well afford to be borne in mind when planning a conservatorium in Perth.

SECTION E

To evaluate the current clarinet repertoire by discussion with players and visits to publishing houses and libraries.

I visited the following publishers and libraries:

In London:-

Oxford University Press

Chappells

British and Continental

Novello

Barenreiter

Boosey and Hawkes

Schotts

Musica Rara

J.W.Chester

Stainer and Bell

In America:-

The Curtis Institute Library

The Philadelphia Public Library

I have brought back with me a sizeable quantity of music from these and other sources including some photostat copies of hire material for study purposes only.

It is very difficult in Perth to keep up to date with published music and teaching material because of our isolation and I wonder if it might be possible for the Perth Central Music Library to institute a worldwide listing of new publications in a readily accessible format. This could be kept up to date from periodicals and catalogues, etc.

There is a further problem in the increasing number of works that are published as hire material only and it would be beneficial if the Central Library could obtain and hold photostat copies for evaluation but not performance. Publishers might well agree to this if approached by the State Library and/or Churchill Memorial Trust. There would need to be restrictions to satisfy publishers’ doubts, however, I feel it should be possible to arrive at some suitable arrangement.

SECTION F

To enlarge and improve my knowledge of the clarinet as a player and teacher, in all aspects.

There is no doubt whatsoever in my mind that I have achieved this purpose in great measure and that I have returned a much more knowledgeable clarinettist. I believe the personal confidence aquired from a realistic appreciation at first hand of international standards and styles and all that flows from such experience will prove one of very long term benefits of this study leave. I am looking forward to putting this into practise the beneficial results of my Fellowship. I have not gone into great detail on technical matters of teaching and playing in the body of this report because I believe these are personal in application. What suits me does not necessarily suit other players, however I am most willing to discuss these matters with any one interested and in fact, I have already had lengthy discussions with my colleagues since returning to the West Australian Symphony Orchestra.

Furthermore, this overseas visit has confirmed my belief that it would be of inestimable value to a practising musician to be able to undertake a sabbatical leave with financial security and I feel that every effort should be made to study the feasibility of introducing a scheme similar to that of University staff. Finance is of course the problem, but I do feel that a start should be made now on at least defining the problems involved.

Mr. di Cicci, who I met in Ann Arbor, was undertaking a year’s study on leave from his position as Professor of Clarinet at Indiana College in Pennsylvania. This is a common occurrence in America.

In conclusion, I would like to express my gratitude to the Winston Churchill Memorial Trust for awarding this Fellowship to me, without this assistance it would have been extremely difficult for me to have undertaken a comparable educational programme. I would also like to acknowledge the encouragement given me by my employers, the Australian Broadcasting Commission.

ADDENDA

Recommendations for future Fellows studying overseas in similar fields
1. Allow ample uncommitted time in itinerary
2. Arrange to study with several teachers rather than one
3. Prepare some repertoire works for study in depth before leaving
4. Cultivate as many personal contacts as possible.
Names and addresses of people helpful to me whilst abroad:-

Mr Leon Leblanc and Gerard Leblanc

70 Rue Des Rigoles

Paris, 70E

Mr Jack Brymer

Underwood

Ballards Farm Road

Croydon, Surrey.

Mr Gervase de Peyer

16 Langford Place

London. N.W.S

Mr Bernard Walton

6 Foxgrove

Soutgate

London, N14

Mr Jack McCaw

15 Leinster Avenue

East Sheen

London S.W. 14

Professor William Stubbins

3040 Exmoor Road

Ann Arbor, Michigan 48104

Mr Geoffrey Michaels

5358 Montgomery Avenue

Phuiladelphia

Pennsylvania, U.S.A

Mr Brian Hanly

Interlochen Arts Academy

Interlochen

Michegan 49643, U.S.A

The help received from these people is covered in my report.

The following were also of great assistance:-

Stephen Trier (Bass Clarinettist, London Philharmonic Orchestra) helpful with clarinet mouthpieces.

Colin Bradbury (Associate Principal Clarinet, B.B.C. Symphony Orchestra) visit to the National Youth Orchestra

Tony Jennings (Bass Clarinettist, B.B.C. Symphony Orchestra) visits to B.B.C. rehearsals.

Comments on travel arrangements with suggestions for improvements:-

Airline schedules were flexible enough for my purpose
Air travel, even on short hops, saves time
Obtain open tickets where possible
Accommodation should be booked in advance. I asked the airlines to do this for me which proved satisfactory.
Luggage must be clearly marked as it sometimes goes astray.

Finance provided by the Trust proved satisfactory if one is not extravagant.

DIARY NOTES

Observations at Leblanc Factory at Courle

Logs stacked for a year, cut into lengths, left another year. Then to the assembly line – one man one lathe. Handed on – drilling of holes. Pivots hand assembled, tested at factory, then tuned by Leon with electric organ.

The smallest bore clarinet they have made is 1450. The L.L.1480. The new L71475, dynamics H 1500. The closer the lay the sharper, more open flatter. Leblanc MPs L1=1.00

L2=1.05

L3=1.10

L4=1.15

Vandoren

Mouthpieces 3 Diamonds cut the facing of the mouthpiece, circular rotating head with the three diamond rev. and cut from a pre set pattern the same facing, tolerance of error very little.

The making of reeds: dry can for 4 years, cut into lengths by bandsaw machine, flattened first, cut by machine at the same time trimming the sides, next step paring down to paper thin. The last step cutting the tip. At the factory is an automatic machine for grading the reeds into 5 different strengths. Bought 400; still don’t think they are graded very well.

Lesson 3^rd August – Jack Brymer

Easy to approach. He feels my sound breaks up too soon. Gave me a doctored up mouthpiece (D Selmer) to try – definitely a smoother approach but I find that the more open chamber throws my clarinet a little out of tune, the A even more so. He uses the same fingering as me for the scales D and A, namely RH “B” also side Bb in some slower passages to get the better sounding note. Also referred to keeping the right hand down on throat nots as being like a resonator on a xylophone which without wouldn’t have much tone.

Deep breathing approach – think of an open tube from your diaphragm through the throat down the instrument and a foot past the bell.

I asked about wind or hiss when recording – he said sometimes skin pads can buzz a little or too close a microphone technique could cause some wind to be picked up.

Lesson 12^th August – Gervase de Peyer

My set up restricted on the fortissimos. He talked about relaying one of my mouthpieces. Most of the lesson was devoted to the approach of clarinettists not making do with a reasonable reed would be striving for too fine a reed in the end would wreck the reed. Started on a little sales talk on 10-10s. Some American players play on Buffets doctored by a mechanic in Philadelphia.

Lesson 15^th August – Gervase de Peyer

Found that I look down too much which closed my throat. Must keep my head up. Both trilling and tonguing is a reflex not a muscle condition. Practise a few tongues and trills with a reflex rather than muscle controls. Gervase uses more muscle vibrato than a diaphragm – feels I could use it more to effect. The closer lay gives more wind sound through the instrument than an open lay. Gervase said 50 thousand is the most he can control. After that it is too hard to pitch and hit the note in the middle. You should show a phrase to the audience like a soprano. On the lower notes, don’t forget to compensate with the throat to get the best sound. A handy top G is E first line with speaker (top B) up to G.

Lesson 16^th August – Bernard Walton

The whole lesson was devoted to posture whilst playing. The chest and throat relaxed and open, the wind is governed by the diaphragm pushing slightly. Stand against a wall to feel the posture. For mouth position think of a cor anglaise bell. The chin should be well up even if it feels like a Benny Goodman. Try to get all notes with the slowest possible amount of air. Embouchere should only be a thin line of bottom lip, the top and side only being a seal. He likened the playing to starting the car – don’t put it in gear, push the clutch in then turn on the engine – have it running before starting. The chest and throat muscles remain relaxed without moving. The wrists should be in a semi circle from the elbows – if the wrists sink it restricts the finger action which should be from the joint nearest the hand. When trilling, think of the bottom nots (the not the trill is written on). When blowing the mouthpiece only, it should be a half a tone lower than at full pinch.

Observations after Bernard’s lesson:

I have to change my bottom lip to accommodate the top D harmonic from open G.

My shoulders ached after practice. With the new bite if I’m not careful the top Fs jump to the next harmonic. Query – should the throat compensate for octaves D to D above the stave?

Steve Trier

Riffault 42 is what Bernard is using on his old Smitt clarinet. Steve Trier had bored this mouthpiece to suit his Wurlizter clarinet. Riffault makes mouthpieces to different specifications and sells under names such as Mitchel Lowrie. Also makes for Vito American Leblanc.

Lesson 19^th August – Bernard Walton

As you work up the scale, don’t think of tightening but the reverse, mentally think down. The sides of the reed govern the overtones, so too much pinching in the sides of the mouth will cut out certain overtones.

Both Bernard and Gervase use side and open Ds and C# in preference to changing the harmonics.

Liken all your actions while playing to talking, i.e. whispering or shouting. Never think of your sound as only projecting forward, think the sounds as both sides of you, and even behind.

Your tongue plays an important part in tone production, the more it’s out of the way the better. Think of the tongue as being more down the throat rather than in the mouth and as if you have to stretch your tongue to reach the reed.

Don’t feel as if you are hanging the clarinet on the thumb rest but more grabbing the wood.

A little jaw movement is necessary to pick out the high harmonics.

Don’t lock my shoulders back but push my chest and neck forward and make sure the diaphragm is stretched up.

Never have the sensation of blowing; think the wind is just spilling over, as little airspeed as possible.

Wed 18^th August – National Youth Orchestra of Great Britain – Pierre Boulez

Colin Bradbury was kind enough to extend an invitation to me to spend a day at Croyden observing two rehearsals by the N.Y.O conducted by Pierre Boulez in preparation for a Prom Concert in the Albert Memorial Hall on the 23^rd August. We arrived at approximately 9.45am and at 10am the first rehearsal commenced. The orchestra of some 150 youth ranging from 14 – 19 years of age treated the rehearsal very seriously and were given a strict set of rules to abide while at this residential Camp. As Boulez arrived they rose to their feet and sat at the Leader’s sign and throughout the rehearsal were very attentive and quiet. Boulez worked them as if they were professionals and not at any time did he talk down to them as perhaps a teacher at a conservatorium level might. The program consisted of:-

Stravinsky Symphony for Wind

Bartok Strings, Percussion and Celeste

Berg Seven Early Songs with soprano Heather Harper

Webern Six Short Pieces Op 6

Debussy La Mer

Lesson 31^st August – Gervase de Peyer

Long note practice using a vibrato – think of the sound being further back in the throat. Some players work too hard to get volume – don’t force.

My fingering in slow moving passages (Opening Weber Concertino) too jerky, a more legato approach.

Gervase likened the lay of a mouthpiece to a spring board – the opening the more spring but is harder to pick reeds for.

With phrases try to work from one note to the next important note.

Lesson 4^th September – Gervase de Peyer

Bb throat note 3^rd and 4^th fingers down (trills in Debussy) better quality note to establish the trills on.

New top Bb – same as F but thumb off.

Beginning of Debussy – rubato, hurry the last few notes in order to give time for a luftpauser (breath mark).

Gervase when relaying a mouthpiece goes to painstaking trouble to measure the lay at every point (see one of back pages) before cutting so as to know how much has been taken off and at what point. Also a little scraping inside the mouthpiece so as not to have too wide a rail. He also feels that a small bore instrument can’t take as open a lay as the larger bore.

Gervase was impressed with the way I could use a double tongue on the higher notes and should persevere.

Gervase also feels that the scales of D and A are better with the R.H. “B” but at times the other is necessary.

Lesson 6^th September – Jack McCaw

Reed scraping:-

Too bright on high notes, fraction off both corners.

Too stuffy on lower notes, drill small hole about a third up the reed.

A little thick all over, shapen the edges but not right to the tip.

Jack says the lay doesn’t alter the tone much, it’s all in the chamber.

Useful top Ab if you have to slur to it: D fingering above the stave with F# C# key. Top A for slurring E above the stave and add F# – C# key. Try 3 in R.H.

Lesson 7^th September – Gervase de Peyer

Compared lays on his and my doctored lay, decided the middle portion of the lay needed more spring, after touching up seemed better.

Gervase asked for a softer approach on the higher notes.

Too much wetting of the reed shortens the life – between blows just breathe into the mouthpiece – the moisture in the breath is sufficient to wet for blowing.

Gervase’s ligature screws are to one side.

Lesson 9^th September – Gervase de Peyer

All the lesson was informal chat about different hard orchestral passages. Good fingering for Slow Movement Brahms (fingering charts).

Doesn’t use side Eb in Peter and the Wolf at the end of the cadenza.

Both agreed that the relayed mouthpiece was sounding quite good.

Suggested some new concertos and pieces:-

Arnold Cooke Concerto for Clarinet and Strings Novello

Poulenc Sonata for Clarinet and Piano Chester

Paul Lukas Alla Gitana LeDuc

Lesson 10^th September – Jack Brymer

Talked repertoire:-

Templeton Pocket size Sonata Leeds

Wagner Adagio for Clarinet & Strings Luck Americana

Spohr Sechs Lieder (Cl, sop, piano) Barenreiter

Mozart Parto, parto (Cl, voice, p or orch) Schott

Charles Ives Largo (Cl, pno, violin) Southern

Krommer Concerto B & H

Krommer Double Concerto

When tonguing, he says the tongue pushes the mouthpiece away from the teeth grip, so compensate by pushing thumb upwards when tonguing.

He gave me two pieces to work on: Spohr and Krommer Concerto.

I suggested to him that maybe the rubber on top of his mouthpiece could give a bigger mouth cavity, he agreed, I must try.

Jack’s ligature is with screws to the top.

16^th September – Jack Brymer

A lot of talking about ½ holes for intonation. When you ½ hole, blow a little harder to compensate. Low A add F# to flatten. Bb ½ hole the third finer.

Found out that Hans Moening of Philadelphia doctors the American Buffets to almost a 10 / 10.

When trilling with the right hand, hold with the left hand and relax the right. He trills with a rolling wrist action, not and up and down.

I shouldn’t take so long over my breath taking – he demonstrated by. Taking a few little breaths before a long phrase.

I put too much muscle behind my tonguing – he said more air and a lighter tongue.

Tried his instrument – he has a set up with quite a lot of back pressure, but the result is smoother. 10 / 10 more latitude for lipping in tune – also means a bit harder to centre the note.

17^th September – Gervase de Peyer

Cutting papers for relaying:-

Emery polishing paper CL CI 71 M22 (heavy cutting)

John Oakley and Sons finishing paper CL C 4/0 81 M18

Gervase uses an old ligature shaped to hold the measuring guage on.

Repertoire suggestions:-

Busoni Concertino

Hoddynnott Concerto OUP Alan Frank in charge

Phillistate Sonata

Poulenc Sonata

Bartok Contrasts all in Bb

Stravinsky Three solos

Victor Babin Hillandale Chester

Tonguing – Gervase says the tongue should be as relaxed as possible and one shouldn’t be aware of the movement but more as a reflex.

As least possible movement also for fingering – in quick passages the fingers should not as far.

Trilling one should think of relaxed up muscles as well as contact muscles.

Lesson 21^st September – Jack Brymer

Spent some time on the Shepherd after trill stop on the G before moving side C# can be flattened by 3^rd LH (ring only).

Also look at Schubert Romanze OUP and Cooke (cl, voice & pno) OUP

He assures me that if were any clarinet better than the model he plays he would have to change although he has been playing 10 /10 bore for many years and would find it hard to adjust to a french bore. Although, he seems to think that a Buffet Moening would be close to a 10 / 10.

Bartok Contrasts – it doesn’t look good at a Chamber Music Recital to take on 2 clarinets so he plays it all on the Bb.

Use the side Bb as the main note unless the slurring is more important with the side Bb add 2^nd & 3^rd L.H.

Lesson 24^th September – Jack Brymer

We worked on the Contrasts Bela Bartok. Marked the part, found a few misprints.

New top Bb as C except 1^st L.H. up.

Jack talked about using the syllable “Or” which is a bigger cavity than “Oow”. You need greater wind support.

Talked about the intonation of the 10 / 10 being sharper than the French bore on the top register, at this stage would have quite a bit of trouble without the articulated G#.

In the Bartok use the Bb copy only – made some suggestions about the cadenza all marked.

Boosey and Hawkes Factory – 20^th September

For relaying mouthpiece they use No.500 emery also for filling in holes a black block is used by bootmakers to finish black shoes.

While there, they filled in D and A hole on Jack Brymer’s clarinet to flatten. Added quite a bit. They seem to have lost all their skilled workmen so if I ever decide to buy 10 / 10 either write to Jack Brymer or be very careful.

Lesson 28^th September – Jack Brymer

Sight reading – try to look at a group of 4 or 5 notes and click forward to the next group, never hesitating or looking back.

Good top F for certain passages Eb by the A key and add the top two sides.

Brymer would never consider recording the Nielson Concerto because of the superb Drucker recording, in other words, see what the odds are before thinking of any commercial recordings.

1^st October – Herbert Blayman – New York

Showed me how he tests reeds after wetting – whether the tips fold over when touched.

He has his own crystal mouthpiece made by O’Brian.

His second player had designed an instrument for gauging the thickness of reeds called ana Exacto Reed.

5^th October – Hans Moenig – Philadelphia

My Leblancs are a bigger bore than Buffet. He gave more vent to the lower big pads on both the Bb and A.

He says that an A should have a slightly narrower barrel to compensate for the high, sharp notes.

Hans reamed some wood out of the top joint of my A and it brought the throat notes down a little, also freed some high notes.

I’m still doubtful of the top F he suggested. Nail polish in the hole.

On the Bb he undercut the D (4^th line) which brightened it up.

B & Ebs he also gave more vent.

The new Selmer model 10 is one of Moenig’s design through Julatte for Selmer.

Perhaps as Jack McCaw said, the barrels made quite a difference.

David Glazer

Very easy to approach. Uses a Buffet with his own mouthpiece with a silver tip and lay (very heavy). Only woodwind groups and chamber vocal and clari etc.

7^th October – Bill Stubbins

Makes his own reeds but says that a good substitute is the German facing reed.

His ligature has a little raise of metal under the port reed side.

A lot of exercises for clarinet have been written by him and he says he will send me some free copies if I paid the postage – I agreed. I am not all that impressed with his S.K. mechanism. Rubber on top of the mouthpiece – Bill uses rubber bandage and puts it on with double sided sticky tape.

8th October – Daniel Di Cicca

Rubanks are used quite extensively in U.S.A. supplemented by tunes and band books.

He mentioned for a collection of different instruments the “Easy steps to Band Playing” published by Belwin.

Also said if I wrote I would receive a teachers’ manual of the above.

Mr Di Cicco teaches at Indiana Pennsylvania College.

Most Americans teach a half hole for C# and over 3^rd harmonics in preference to right off.

[1] From travel diary – not included in Churchill Report, met Principal Clarinet Keith Pearson and his wife who was 2^nd clarinet

[2] The Clarinet Concerto was written in 1968 in response to a commission from the Royal Philharmonic Society (in association with the Calouste Gulbenkian Foundation). It was first performed in February 1969 by the BBC Symphony Orchestra conducted by Colin Davis, with Gervase de Peyer as soloist at the Royal Festival Hall, London.