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INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter 6ce, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zed) Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 THE NEW YORK WOODWIND QUINTET: A CONTINUING LEGACY DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Amy L. Likar. B.M.. M. Mus. ***** The Ohio State University 1999 Dissertation Committee: Professor Katherine Borst Jones. Adviser Approved by Professor Christopher Weak Adfmer Professor Charles Atkinson ' ~ School o f Music UMI Number: 9919885 Copyright 1999 by Likar, Amy Louise All rights reserved. UMI Microform 9919885 Copyright 1999, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 Copyright Amy L. Likar 1999 ABSTRACT The New York Woodwind Quintet, one of America’s foremost chamber music ensembles, has been in existence since 1947. It is responsible for increasing the repertoire and prominence of woodwind quintets throughout the United States and the world including many premieres and several commissions of new works for quintet. In addition, it revived the older repertory for the medium. The Quintet is one of the first American wind chamber groups to enjoy a worldwide reputation. This history shows how the New York Woodwind Quintet has greatly influenced the musical repertoire and popularity of woodwind quintets as a viable chamber ensemble. Oral histories were conducted with former and current quintet members. In addition, members’ personal programs and clipping files were used for further information on repertoire and premiere dates. Other research materials were available through the Samuel Baron Collection at the Library of Congress, and clipping and program files at the New York Public Library. The discography and filmography were researched using OCLC, RILN abstracts and the Baron Collection. The Library of Congress concert listings were found through the Library of Congress Catalog. Member biographies were found through members themselves, university web sites, orchestra archivists, or journal articles. The history of the New York Woodwind Quintet includes many performances at the Library of Congress, and world tours to South America, Europe, the Far East, and the Soviet Union. The history also includes numerous tours around the United States, children’s concerts for Young Audiences, Inc.; collaborations with many well-known composers and numerous recordings; residencies at various universities and colleges, including Summer Evenings o f Music at the University of Wisconsin at Milwaukee, a continuing summer residency at Yale University’s Norfolk Festival and a current residency at the Juilliard School. in Dedicated to Jack IV ACKNOWLEDGMENTS I wish to sincerely thank my adviser. Katherine Borst Jones and my committee members, Christopher Weak, and Charles Atkinson and Robert Sorton for their support throughout my career at The Ohio State University. As a Presidential FeUow and a Graduate Alumni Student Research Award recipient. I particularly want to thank not only my committee but also Thomas Heck, Patricia Flowers and Don Gibson for their roles in my attaining those awards. I also want to thank Dr. Richard Soule from the University of Nevada Las Vegas for writing an external evaluation letter for me for the Presidential Fellowship Competition. I must also thank the Zeta Beta Alumni Chapter of Delta Omicron International Music Fraternity for its support and financial assistance through the Zeta Beta Memorial Scholarship Fund at The Ohio State University. This project would not exist if it were not for the cooperation of the New York Woodwind Quintet: David Glazer, Jerome Roth, Bernard Garfield, Arthur Weisberg, Ronald Roseman. Ralph Froelich, Donald MacCourt. William Purvis. Charles Neidich and Carol Wincenc. These fabulous musicians generously and graciously let me into their lives and let me interview them for this project. I cannot thank them enough. Also, many thanks to Brenda Schuman-Post for giving me the student’s perspective of the New York Woodwind Quintet I also must acknowledge the presence of the late Samuel Baron throughout this project. Fondly called by his colleagues. ‘Mr. Quintet,' Sam Baron had an enormous influence on the longevity of the group and the integrity with which they worked. I express sincere gratitude and appreciation to Carol Baron for her support and for granting me permission to access the Samuel Baron Collection at the Library of Congress. Those journals gave me a true sense of the camaraderie of the group during those early years and o f the Quintet’s lasting influence on woodwind players throughout the world. I wish to thank Nancy Tofif for her research and editing expertise and her invaluable assistance to me in helping me put this project together. I also want to thank Wilda Heiss. Archivist from the Library of Congress, for all of her assistance in helping me gain access to the Baron Collection at the Library of Congress and her help in researching New York Woodwind Quintet Library of Congress Performances. I want to thank Philadelphia Orchestra Archivist JoAnn Barry, Los Angeles Philharmonic Archivist Steve LaCoste. and Boston Symphony Archivist Bridget Carr for their assistance in confirming dates for member biographies. Many thanks to Barbara Conable for her support throughout this project. I also want to thank Stephanie Motts for her expertise in world history. I must also thank Professor Stanley Blostein, Associate Dean of the College of Social Work. Through a stroke of luck he was placed on my committee for my oral examination. Through a connection of his. I was able to get biographical information on one of the early flutists in the Quintet. VI I want to thank my quintet, the Cardinal Wind Quintet, Melissa Stevens, Anthony Lojo, David Oyen and David Nesmith for their outstanding musicianship and support throughout this project. Many thanks to my femily for their support and encouragement throughout this degree. Finally, I wish to thank my husband Jack Paulus whose patience, love, and support has been incredible throughout this project. I must also thank him for the photo editing and diagram design in Chapter 5. V ll VITA February 22, 1968. Bom - Cuyahoga Falls, Ohio 1991....................... B.M. Kent State University 1991 to 1992......... English Teacher Swaziland, Southern Africa 1992 to 1994.......... Graduate Teaching Associate The Ohio State University 1994....................... M.M. The Ohio State University 1994 to present... Adjunct Professor of Flute Ashland University, Ashland, Ohio 1994 to present.... Third Flute/Piccolo, Ashland Symphony, Ashland, Ohio 1995 to 1997 ......... Graduate Teaching Associate The Ohio State University 1998....................... Presidential Fellow The Ohio State University 1998....................... Graduate Student Alumni Research Award Recipient 1998 to present.... Second Flute, Wheeling Symphony Wheeling, West Virginia vin FIELDS OF STUDY Major Field: Music Studies in: Flute: Katherine Borst Jones Woodwind Pedagogy and Literature: Christopher Weak Musicology: Charles Atkinson Music Education: David Frego Music Theory: Ann Blombach IX TABLE OF CONTENTS Abstract ..................................................................................................................................ii Dedication ............................................................................................................................ iv Acknowledgments .................................................................................................................v Vita ...................................................................................................................................... vüi List of Diagrams ....................................................................................................................xii List of Figures ....................................................................................................................xiii Chapters: I. The History of the Development of a Woodwind Quintet .....................................