Publications and Recordings - Clarinet
Please find below some samples of my recent recordings and publications around performing and teaching the clarinet.
For a full list of publications, please contact me for my CV.
NEW! — s’Zwitscherl fuer Zwei
Franz Cibulka had written a first version of “s’Zwitscherl”, scored for one clarinet and piano, for his former clarinet teacher, Willi Kremser. In 2015, Franz Cibulka re-arranged the piece for two clarinets and piano for Rolf Weber, Barbara Heilmair, and Kazue Tsuzuki, on the occasion of their collaboration at the Portland State Clarinet Symposium.
The new edition for two clarinets and piano is a revised and edited version, based on the score that Cibulka had sent to Barbara Heilmair.
Revised Edition of Franz Cibulka's "Claroness"
The newly revised edition of ‘Claroness’ is the result of an intense musical collaboration between Barbara Heilmair and Franz Cibulka when the ‘Madrid-Version’ was premiered at the 2015 ICA ClarinetFest by the Austrian Clarinet Choir. The new edition of ‘Claroness’ is a combination of the 2012 ‘Valencia Version’ and the 2015 ‘Madrid Version’ scores by Franz Cibulka. The author’s intent was to create a ‘final’ version of the work that preserves the music as detailed as possible and that also makes the work clear and accessible to ensemble directors, music educators, and clarinet players.
ClarinetFest® 2021 Virtual Presentation: "Clarinet Choirs – Fostering an Idiomatic Blend of Large Ensemble and Chamber Music Skills"
Clarinet Choir playing and directing entails a special blend of skills from both large ensemble music and chamber music. The lecture is infused with music and score examples that illustrate this approach which is aimed at fully bringing out the unique sound and instrumentation of a clarinet choir.
The lecture is suitable for audiences of all levels.
"The Clarinet" Article “Collaboration With Boehm And Oehler Clarinets”
The clarinet, like several other wind instruments, has two primary forms. Both the Boehm (“French”) and Oehler (“German”) clarinets are recognized as being equipped to play music at the highest level of performance standards, and outstanding artists around the world play them. In many music festivals and higher education institutions that have an international reach, both systems are present. However, combining Oehler and Boehm systems in professional ensembles is still an exception. There has been some controversy involving concepts of tradition, national schools of playing, aesthetics, geographically and culturally formed musical tastes, acoustical phenomena, and career considerations. The article is sharing insights from Barbara Heilmair’s collaboration and recording project with Oehler and Boehm clarinets and discussions of the two clarinet systems and their history.
CD "s'Zwitscherl - Music for Two Clarinets and Piano"Rolf Weber (Clarinet), Barbara Heilmair (Clarinet and Bass Clarinet), and Kazue Tsuzuki (Piano)
“…luscious warmth generated by Barbara Heilmair’s bass clarinet beautifully complemented by Kazue Tsuzuki’s rich harmonies at the piano and Rolf Weber’s stunning lines in the high register.”
— Patreon, Dimitri Ashkenazy
“Weber, Heilmair, and Tsuzuki are to be commended for their work on this album. They have brought attention to some lesser-known works, and Cibulka’s crazy-bird madcap is particularly relatable in 2020.”
— NACWPI Journal, Winter 2020, Eric Schultz
"Six Sound Sculptures For Clarinet and Piano" by David Bernstein on the CD "Late Autmn Moods and Images"
Heilmair’s tone is writ large as well as whisper gentle, illuminating both the music and her experienced control over degrees of dynamic flux that give the instrument a wide-ranging capacity for colorful narrative.
— Performing Arts Review, Daniel Kepl