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Photographs included in the original manuscript have t)een reproduced xerographically in this copy. Higher quality 6" x 9" t>lack and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road. Ann Artx>r. Ml 48106-1346 USA 800-521-0000 UMÏ AN INDEX OF EXCERPTS AND AN OVERVIEW OF PUBLISHED ORCHESTRAL BASSOON EXCERPT COLLECTIONS WITH A COMPARISON OF THREE COLLECTIONS 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 Tama I. Kott, B.M., M.M. ***** The Ohio State University 2000 Document Committee: Professor Christopher Weait, Advisor Approved By Professor Russel C. Mikkelson Professor Jon R. Woods Advisor Music Graduate Program UMI Number 9982505 Copyright 2000 by Kott, Tam a I. All rights reserved. UMI UMI Microform9982505 Copyright 2000 by Bell & Howell Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. Bell & Howell Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Aitor, Ml 48106-1346 Copyright by Tama I. Kott 2000 ABSTRACT The study of orchestral excerpts is essential for those wix) aspire to orchestral or teaching positions. This document contains a database of thirty-nine published orchestral excerpt collections for bassoon in or out of print. An overview of the collections provides general information on the compilers or editors, the contents, and other information pertinent to a specific collection. A comparison was made between three collections to illustrate how excerpt collections for bassoon evolved over the one hundred-year publication period. Many people are interested in excerpts and auditions however, few studies or articles have been dedicated to this subject. The con^ilation of the database fills a void in bassoon pedagogy. Dedicated to: You know who you are. enough said! Ill ACKNOWLEDGMENTS I wish to thank Professors Christopher Weak, Richard Blatti, David Frego, Russel Mikkelson, and Jon Woods for their intellectual support, artistic guidance, encouragement, and enthusiasm. I am grateful for your personal and professional support and humanity. I am grateful to the many fecuky members Wio have passed on constructive criticism, motherly or fetherly advice, and encouraging words from time to time. Your support is greatly ^preciated. My appreciation is extended to Professors Tom Heck and Massimo Gentili- Tedeschi for helping me obtain information on Ciro Stadio. A word of thanks to Professor Bruce Degen for forwarding materials on his three published excerpt collections in a timely maimer for inclusion in this project. 1 hope in the future the four remaining volumes will be published and included. Many thanks to Olga Haldey, Igor Karaca, and Diana Lentsner for their assistance in translating excerpt titles from assorted languages and for not making fun of my translations! To my editors Lissa and Suzanne; you graciously gave your time and expertise. Each of you had a unique perspective and constructively taught me a great deal about the writing process. iv I would like to give my most sincere and heartfelt words of thanks and gratitude to Tim Sarsany for all of his assistance. All the things he has done for me are too numerous to mention. Tim, your friendship is greatly treasured. Thank you. My strongest words of thanks go to my family, extended frmily, and friends for their constant love and support. The names o f all these people are too numerous to mention. I trust you all know who you are. You folk are always there for me. Be it a phone call or many calls, invitations to diimers, creating a Êunily for me in Columbus, or simply reminding me to get it together. Only the people that you love and who love you will constantly be there for you. You have all provided a home for me to go to, you have opened your hearts. This has been your greatest gift. VITA January 7, 1970 Bom — New York City, New Yoric 1991-1992 General Music Teacher, Nativity Preparatory School, MA 1992 B.M., New England Conservatory 1993 Principal Bassoon, Heidelberg Schlossfestpiele Orchester, Germany 1994 M.M., University o f Rochester, Eastman School of Music 1995-present Substitute Teacher, New York City Public Schools 1996-1997 Woodwind Instructor, Alban Roberts School of Music, New York 1997-1999 Graduate Administrative Associate, Ohio State University School o f Music 1999-present Graduate Teaching Associate, Ohio State University School of Music March-April 2000 Acting Principal Bassoon, Orquesta Sinfonica de la Universidad Autonomo Nueva Leon, México VI FIELDS OF STUDY Major Field; Music Vll TABLE OF CONTENTS Abstract ..................................................................................................................................... ü Dedication ................................................................................................................................ iii Acknowledgments ....................................................................................................................iv Vita............................................................................................................................................vi List of Abbreviations ................................................................................................................ x Chapters: 1. Introduction ...................................................................................................................1 2. Parameters of Study, Difficulties in Obtaining and Locating Materials and Compiling Database ....................................................................................................3 3. Overview of Excerpt Collections Examined .............................................................7 4. Analysis o f Selected Collections .............................................................................. 14 5. Additional Excerpt and Study Materials for Bassoon ............................................23 6. Conclusion ..................................................................................................................28 Appendices: A. Alphabetical List of Published Bassoon Excerpts by Composer and Title ............34 B. Alphabetical List o f Published Bassoon Excerpts by Title ....................................63 C. Alphabetical List of Titles by Source ......................................................................91 D. Alphabetical List of Selected Collections by Composer and Title ......................119 E. Alphabetical List of Selected Collections by Title ............................................... 124 viii F. Excerpt Bibliography .............................................................................................. 129 G. Chronological Listing of Orchestral Excerpts ....................................................... 132 H. Electronic Communication from Thomas Heck, 26 January 2000..........................................................................................135 I. Electronic Communication from Massimo Gentili-Tedeschi 3 February 2000..........................................................................................136 Bibliography ........................................................................................................................ 137 IX LIST OF ABBREVIATIONS Abbreviation Author/Editor ALB Albert ANG Anger ho fer BEL Belwin Mills BOE Bdehm BOL Bolfan DEC Degen DHE Dhérin GAR Gardner GUM Gumbert GUMWIE Gumbert-Wiegand GWK Gumbert-Wiegand-Knochenhauer JUN Junge KES Kessler KOL Ko Ibinger/Rinderspacher MAG Mages MOR Morelli NEK Nekliudov FEZ Pezzi PIEBMIS Piesk: Beethoven Miscellaneous PIEBSIN Piesk: Beethoven Symphonies PIEKON Piesk: Mozart Konzerto PIEMAH Piesk: Mahler PIESIN Piesk: Mozart Symphonies PIEOP Piedc: Mozart Opera POP Popov RIG Righini SAV Saveliev SCH Schoenbach SCHY Schubert, Y. SIEBK Siebach: Bach Kantatas SIEBOB Siebach: Bach, Overture, Brandengurg SIEH Siebach: Handel STA Stadio WEL Weller XI CHAPTER 1 INTRODUCTION The study o f orchestral excerpts takes place at all levels o f advancement whether one aspires to an orchestral or teaching position. Instrumentalists who plan on careers as orchestral musicians must study orchestral literature. Professionals and symphony musicians practice excerpts in order to maintain and improve skills and proficiency,