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Revelation: the Emergence of the Euphonium from the Traditional COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Copyright Service. sydney.edu.au/copyright Revelation: The Emergence of the Euphonium from the Traditional Brass and Wind Band Culture and Its Modern Day Acceptance in Solo, Chamber and Orchestral Genres Matthew van Emmerik A thesis submitted in partial fulfilment of requirements for the degree of Doctor of Philosophy Sydney Conservatorium of Music University of Sydney 2011 Declaration of Originality I declare that the research presented here is my own original work and has not been submitted to any other institution for the award of a degree. Signed:………………………………… Date:…………………………………… ii Table of Contents Declaration of Originality ...................................................................................................... ii Table of Contents ................................................................................................................... iii List of Figures ........................................................................................................................... v List of Tables ............................................................................................................................ v List of Scores ............................................................................................................................ v Abstract……………………………………………………………………………………...vii Acknowledgments ................................................................................................................... ix Introduction .............................................................................................................................. 1 Chapter 1 Literature Review .................................................................................................. 4 1.1 General literature on euphonium and tuba ...................................................................... 4 1.2 Band history .................................................................................................................... 5 1.3 Repertoire ........................................................................................................................ 8 1.4 History and construction of the euphonium. ................................................................. 11 1.5 Pedagogy ....................................................................................................................... 12 1.6 Technique ...................................................................................................................... 14 Chapter 2 Historical Origins of the Euphonium ................................................................. 19 2.1 Introduction ................................................................................................................... 19 2.1.1 The euphonium and baritone horn ............................................................................. 19 2.1.2 History of the euphonium ........................................................................................... 20 2.1.3 Where does the Euphonium fit? ................................................................................. 24 2.1.4 Technology and intonation ......................................................................................... 30 2.2 Conclusion ..................................................................................................................... 34 Chapter 3 The Euphonium, Its Traditions and Current Social Status ............................. 35 3.1 Introduction ................................................................................................................... 35 3.2 Euphonium in the wind band ........................................................................................ 39 3.3 Where did the euphonium begin to make a mark in musical history? .......................... 43 3.4 Conclusion ..................................................................................................................... 49 Chapter 4 Close Relationship Between the Euphonium, the Early Repertoire of the Brass Band and the Modern Orchestra ............................................................................... 50 4.1 Introduction ................................................................................................................... 50 4.1.1 Close relationship between the string orchestra and the brass band ....................... 50 4.1.2 Changing concepts of sound ................................................................................... 52 4.2 Musical snobbery? ........................................................................................................ 54 4.3 Conclusion ..................................................................................................................... 56 Chapter 5 Role of the Euphonium in Brass and Wind Band Repertoire ......................... 58 5.1 Introduction ................................................................................................................... 58 5.2 Brass and wind band repertoire for the euphonium ...................................................... 59 5.2.1 Gustav Holst (1874-1934)....................................................................................... 59 5.2.2 Percy Fletcher (1879-1932) .................................................................................... 61 5.2.3 Ralph Vaughan Williams (1872-1958) ................................................................... 65 5.2.4 Gustav Holst (1874-1934)....................................................................................... 69 5.2.5 Sir Edward Elgar (1857-1934) ................................................................................ 70 5.2.6 John Ireland (1879-1962) ........................................................................................ 73 5.2.7 Percy Grainger (1882-1961) ................................................................................... 73 5.2.8 Edmund Rubbra (1901-1986) ................................................................................. 77 iii 5.2.9 Gilbert Vinter (1909-1969) ..................................................................................... 81 5.3 Conclusion ..................................................................................................................... 84 Chapter 6 Influence of the Euphonium in Mainstream Orchestral Repertoire .............. 86 6.1 Introduction ................................................................................................................... 86 6.2 Orchestral excerpts for euphonium ............................................................................... 88 6.2.1 Modest Mussorgsky ................................................................................................ 90 6.2.2 Richard Strauss ....................................................................................................... 92 6.2.3 Gustav Mahler ......................................................................................................... 96 6.2.4 Gustav Holst............................................................................................................ 97 6.2.5 Leoš Janáček ......................................................................................................... 100 6.2.6 Mark Anthony Turnage......................................................................................... 100 6.3 Conclusion ................................................................................................................... 106 Chapter 7 Solo and Chamber Repertoire .......................................................................... 107 7.1 Introduction ................................................................................................................. 107 7.2 Solo repertoire with band ............................................................................................ 109 7.2.1 Percy Edward Code ............................................................................................... 109 7.2.2 Helen Johnston ...................................................................................................... 114 7.2.3 Joe Cook................................................................................................................ 125 7.2.4 Mike Fitzpatrick ...................................................................................................
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