A Comparison of Performance Practice of Selected Clarinet Passages in Orchestral Auditions and Orchestral Performances Theodore A
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Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2004 A Comparison of Performance Practice of Selected Clarinet Passages in Orchestral Auditions and Orchestral Performances Theodore A. Schoen Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF MUSIC A COMPARISON OF PERFORMANCE PRACTICE OF SELECTED CLARINET PASSAGES IN ORCHESTRAL AUDITIONS AND ORCHESTRAL PERFORMANCES By THEODORE A. SCHOEN A Treatise submitted to the School of Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts Degree Awarded: Fall Semester, 2004 Copyright © 2004 Theodore A. Schoen All Rights Reserved The members of the Committee approve the Treatise of Theodore A. Schoen defended on November 1, 2004. Frank Kowalsky Professor Directing Treatise Seth Beckman Outside Committee Member Patrick Meighan Committee Member Eric Ohlsson Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii In memory of my father iii ACKNOWLEDGEMENTS I would like to thank the following people for their help, guidance, and contributions to the realization of this project: My graduate committee: Dr. Seth Beckman, Professor Patrick Meighan, Dr. Eric Ohlsson, Dr. John Deal and especially Dr. Frank Kowalsky, who gave freely of their time, expertise, and support. Laura Ardan, Tad Calcara, Larry Combs, Burt Hara, Ricardo Morales, Timothy Paradise, and Michael Rusinek, who took time out of their busy performing and teaching schedules to be interviewed. Thank you to these clarinetists not only for their participation in this project, but also for all their contribution and inspiration to the clarinet and orchestra worlds. With great love and thanks to my wife, Laurie Van Brunt, who not only helped me in transcribing the interviews and proofreading this paper, but also provided endless love, support, and patience during this entire process. Without her this journey would have never been completed. iv TABLE OF CONTENTS List of Examples ................................................................................................ vii Abstract ...................................................................................................... viii INTRODUCTION ............................................................................................... 1 1. DISCUSSION OF SELECTED CLARINET EXCERPTS ............................ 6 Mozart: Concerto for Clarinet in A Major, K.622, Exposition................... 6 Beethoven: Symphony No. 4 in B-flat Major, Op. 60, Fourth Movement, measures 297 - 301................................... 11 Beethoven: Symphony No. 6 in F Major, Op. 68 (“Pastoral”) First Movement Letter K to the End ....................................... 13 Beethoven: Symphony No. 6 in F Major, Op. 68 (“Pastoral”) Second Movement, Letter D to Letter E ................................. 16 Beethoven: Symphony No. 6 in F Major, Op. 68 (“Pastoral”) Third Movement Scherzo, 32 measures after A to 51 after A 18 Brahms: Symphony No. 3 in F Major, Op. 90 Second Movement............. 20 Zoltán Kodály: Galanta Dances................................................................. 23 Mendelssohn: “Scherzo” from A Midsummer Night’s Dream ................... 25 Rimsky-Korsakov: Capriccio Espagnol, Op. 34 ........................................ 28 2. GENERAL TOPICS RELATED TO AUDITIONS AND ORCHESTRAL PERFORMANCES ............................................................ 33 The Audition Committee ............................................................................ 33 Use of Personal Parts and/or Excerpt Books .............................................. 36 Reeds and Equipment ................................................................................. 38 Using Recordings........................................................................................ 40 General Comments...................................................................................... 42 CONCLUSIONS.................................................................................................. 47 v APPENDICES ..................................................................................................... 50 A Interview with Laura Ardan.................................................................. 50 B Interview with Tad Calcara................................................................... 72 C Interview with Larry Combs................................................................. 86 D Interview with Burt Hara ...................................................................... 96 E Interview with Ricardo Morales ........................................................... 111 F Interview with Timothy Paradise.......................................................... 116 G Interview with Michael Rusinek........................................................... 127 H Interviewed Clarinetists’ Biography..................................................... 137 I Interview Consent Form and Human Subjects Approval Memorandum........................................................................ 140 J Sample Interview Questions ................................................................. 142 BIBLIOGRAPHY ............................................................................................... 144 BIOGRAPHICAL SKETCH .............................................................................. 146 vi LIST OF EXAMPLES Example 1: Mozart: Concerto for Clarinet in A Major, K.622, Exposition mm. 108 – 110 with F-sharp in m. 109 ........................................... 10 Example 2: Mozart: Concerto for Clarinet in A Major, K.622, Exposition mm. 108 – 110 with F-natural in m. 109.......................................... 10 Example 3: Beethoven: Symphony No. 4 in B-flat Major, Op. 60, Fourth Movement, mm. 297 - 301.................................................... 11 Example 4: Beethoven: Symphony No. 6 in F Major, Op. 68 (“Pastoral”) First Movement, mm. 474 - 512....................................................... 13 Example 5: Beethoven: Symphony No. 6 in F Major, Op. 68 (“Pastoral”) Second Movement mm. 66 - 77 ....................................................... 16 Example 6: Beethoven: Symphony No. 6 in F Major, Op. 68 (“Pastoral”) Third Movement mm. 114 - 133 ...................................................... 18 Example 7: Brahms: Symphony No. 3 in F Major, Op. 90 Second Movement, mm. 1 - 22 ........................................................ 20 Example 8: Kodály: Galanta Dances mm. 31 - 37.............................................. 23 Example 9: Mendelssohn: “Scherzo” from A Midsummer Night’s Dream, mm. 1 - 48 ....................................... 25 Example 10: Rimsky-Korsakov: Capriccio Espagnol, Op. 34 First Movement, Alborado, mm. 14 - 27.......................................... 28 Example 11: Rimsky-Korsakov: Capriccio Espagnol, Op. 34 First Movement, Alborado, mm. 41 - 57.......................................... 29 vii ABSTRACT Performance practice is an important part in the interpretation of any musical composition. In every performance situation there are elements of technique and style that are determined by various factors, including the work being performed, the size of the ensemble, and the nature and purpose of the performance. The context in which a musical work is performed can affect the overall presentation of that work. Performing as a member of an orchestra and taking an orchestral audition are two different contexts. To conform to the standard set by an orchestra or conductor, individual musicians may have to alter their performance to achieve uniformity with the rest of the ensemble. Consequently, orchestra musicians may sacrifice their individuality, except possibly in extended solo passages, for the sake of a unified interpretation. This contrasts with the audition process used to secure a position in an orchestra. The purpose of this research is to compare how the performance practice of certain clarinet excerpts prepared for an orchestra audition differs from that of the same passages performed in an orchestra. Interviews of seven principal clarinetists from major American orchestras discussed the differences, if any, in the performance of selected clarinet orchestral excerpts in both the audition and orchestra context. In addition to the discussion of the excerpts, there are also sections devoted to the use of recordings, the use of personal orchestral parts, reeds and equipment, and general comments. The complete interviews are included in the appendices. viii INTRODUCTION Performance practice is an important element of the interpretation of any musical composition. In every performance situation there are elements of technique and style that are determined by various factors, including the work being performed, the size of the ensemble, and the nature and purpose of the performance. The context in which a musical work is performed can affect the overall presentation of that work. Performing as a member of an orchestra and taking an orchestral audition are two different contexts. An orchestra is a synchronized ensemble consisting of as many as one hundred musicians who work both musically and stylistically as a unit. The orchestra’s musicians must be able to adjust to such elements as pitch, dynamics, rhythm, phrasing and style, not only to fit with what is going on around them,