Press Reviews

About "Clarinet Secrets" book:

"If you are a clarinetist with some experience, seeking to improve your skill, or a clarinet instructor hoping to impart some useful and timeless knowledge to your students, you will find Clarinet Secrets: 52 Performance Strategies for the Advanced Clarinetist by Michèle Gingras to be an invaluable tool."—INTERNATIONAL MUSICIAN 2005

"Michèle Gingras' Clarinet Secrets deals with an incredibly wide range of tactics related to teaching and performing the clarinet and does so in an engaging and even entertaining way. The writing style is clear and to the point, never stodgy... Highly recommended."—Larry Combs, Principal Clarinet, Chicago Symphony Orchestra, Clarinet Professor, De Paul University

"All serious students should read Clarinet Secrets. It establishes an important way of thinking about our instrument and consequently has the potential of saving teachers and students a lot of time."—Phillip Rehfeldt, Professor of Woodwind Instruments and Musicology at the University of Redlands

"Clarinet Secrets is a gold mine of useful strategies and approaches to a wide range of clarinet related topics."—Neil McGregor, Australian Clarinet and Saxophone (Dec. 2004)

"...if you only buy and read one book this year, it should be Clarinet Secrets.... This is a book you will not want to put down...It will be required reading for my students"—Joseph Messanger, The Clarinet (Dec. 2004)

"...it is surprising how much information 52 Secrets will reveal...The writing is concise, well structured and accessible, and bears a certain west Atlantic optimism throughout... this is a vibrant, personal, no-nonsense approach to many things that really matter in the technique of the clarinet...With its upbeat, easy, yet paced delivery and broad scope of interest, it is an exciting and attractive addition to the library..."—David Morrow, Clarinet and Saxophone (Dec. 2004, England)

"I congratulate Michele Gingras on a well-thought-out and handsomely-presented handbook which contains a great deal of useful advice, concepts, and ideas for clarinetists. Ideally, it should go through many printings in the future. The accompanying CD of Gingras performing clearly illustrates many of the techniques she addresses in the book. This volume should be on the reference shelves of music libraries and band rooms, and in the personal libraries of clarinet teachers and students across North America and beyond. It is a fine contribution to the study of clarinet playing in all its richness and diversity" -Timothy Maloney, Canadian Winds-Vents Canadiens, Vol. 4, No. 1, Fall 2005

About Performances and recordings:

"Daniel Galay's Klezmer Tunes with a Classical Touch, Vol 2 offers an excellent introduction to a genre which, as well as being fascinating in its own right, can help introduce improvisatory elements and musical freedom to pupils…The clarinet performance by Gingras on the recording is excellent, and her article on performing in this style is helpful for teacher and pupil alike… this volume is likely to provide longer-lasting interest than many similar collections."- Music Teacher (U.K.), November 2005

"Klezmer Konzert: A Jewish Tradition," was the unifying thought for the concert, and included the vibrant virtuosity of clarinetist Michele Gingras—The Chieftain, Pueblo, Colorado, 1998

"She plays the clarinet like a winner"—Eric McLean, The Gazette (Début concert in Pollack Hall, Montreal, 1985)

"She was some kind of magician who managed to do unbelieveable things"—Terje Lerstad, Klarinytt Magazine (Concert in Oslo, Norway) (1988)

" Gingras' CD, Palm Court Christmas, is a breath of fresh air...Her tone is supple and varied... The ensemble produces a warm aural experience which will seduce most any listeners"—The Clarinet, September 2000

"The klezmer recital featured Michèle Gingras. This soulful and very well-received performance was a special treat"—Denise A. Schmidt, The Clarinet, Dec. 2001, p. 25 (Oklahoma Clarinet Symposium)

"Gingras presents us with a stunningly beautiful recording. Gingras performs superbly throughout the disc displaying absolute mastery of the instrument, with each nuance, interval, and phrase displaying absolute perfection"—Lawrence Gibb, The Clarinet, Sept. 2001, p. 97 (Arias for the Soul CD)

"I smiled as I listened to Palm Court Christmas. It is a engaging, fun, and unfolds gracefully, with each little orchestral surprise more fetching than the last... this CD's integration is obviously the work of thoughtful and talented musicians...but most of all are feelings of admiration and respect, that this group of music professors from Miami University in Ohio has chosen to put their talents and their ideas to the test. I hope this is what they are teaching their students" —Top Picks, Chrismasreviews.com

"Michèle's energy and virtuosity were truly outstanding" —South Asia Newsletter, Cornell University, Fall 2000

" But above all, the real magic appeared during the clarinet melody of Michèle Gingras... a sonority with a rarely heard quality... an extraordinary solo"—El Mercurio (Santiago Philharmonic Orchestra, Chile, 1982)

"A polished and commanding performance exhibiting technical assurance and stamina...The performance was totally assured. and polished"—Alan Meyer, The Reeder's Digest of South Australia (Concert and lecture in Adelaide, Australia, 1987)

"The Canadian Michèle Gingras: An excellent instrumental technique and a pure, quality sound" —La Nación (Santiago Philharmonic Orchestra, Chile, 1982)

"I will single out Gingras' wonderfully fluid playing"—The Clarinet (U.S.) (MWQ LP recording, 1988)

"...readers are both impressed with the Michèle Gingras (article) series in this magazine, Clarinet Player versus Clarinettist. The information in this feature is extremely useful and it is given in a clear and succinct way. Michèle has a wonderful ability to teach through the written word. More please"—Clarinet and Saxophone (England)

"The piece was performed very expressively by Michèle Gingras..."—The Clarinet (Paris ICA Congress, 1996)

"Gingras...played with a rich and singing sound. She and pianist Ron Matson had given the piece its première in Ohio"—The Clarinet (Chicago ICA Congress, 1994)