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An Examination of Selected Works for Oboe and English Horn from the Compostitions of Daniel Pinkham (1923-2006) Sherwood W

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An Examination of Selected Works for Oboe and English Horn from the Compostitions of Daniel Pinkham (1923-2006) Sherwood W Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2010 An Examination of Selected Works for Oboe and English Horn from the Compostitions of Daniel Pinkham (1923-2006) Sherwood W. Wise III Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC AN EXAMINATION OF SELECTED WORKS FOR OBOE AND ENGLISH HORN FROM THE COMPOSITIONS OF DANIEL PINKHAM (1923-2006) By SHERWOOD W. WISE, III A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Summer Semester, 2010 ! ! ! ! ! ! ! -74!;4;14?@!=5!A74!2=;;8AA44!0>>?=C4!A74!,(%.,")%!*+!1$%(2**3!45!4")%!666! 3%+%73%3!*7!8.(-$!9F!LJKJG! ! ! IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII! ?("-!@5!A$B))*7!!!!!!!!!!! ! ! !!!!!!!!! ! ! @(*+%))*(!C"(%-,"7D!C"))%(,.,"*7! ! ! ! ! ! IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII! 882704:!E::4<!! ! ! ! ! ! F7"0%()",G!H%/(%)%7,.,"0%! ! ! ! ! ! ! IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII! &455?4E!'44@4294?! ! ! ! ! ! !=;;8AA44!(4;14?! ! ! ! ! ! ! ! IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII! "41=?07! 8@7!! ! ! ! ! ! !=;;8AA44!(4;14?! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! #$%!N(.3O.,%!1-$**B!$.)!0%("+"%3!.73!.//(*0%3!,$%!.'*0%H<0;43!2=;;8AA44! ;4;14?@G! 88! ACKNOWLEDGEMENTS I would like to acknowledge the following people for their valuable contributions to this study: Alex Diccico, Emily Gaberman, Andrew R. Holman, Michael Lister, Elizabeth Lojieuness, Eric Ohlsson, Daniel Pinkham, Kenneth Roth, Pierre Roy, Robert Richter, and Robert Sheena. ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! 888! TABLE OF CONTENTS Acknowledgements……………………………………………………………… iii List of Musical Examples………………………………………………… …….. vi Abstract…………………………………………………………………………… viii 1. INTRODUCTION...................................................................................... 1 2. BIOGRAPHY............................................................................................ 4 3. MUSICAL PHILOSOPHY.......................................................................... 12 Blending Old Ideas with New………………………………………….... 12 Text Setting………………………………………………………............. 13 Short Form Composition……………………………………………….... 14 Experimentation………………………………………………………….. 15 Qualities of Instrumental Writing………………………………………... 15 Practicality and Accessibility………………………………................... 17 Marketability………………………………………………………………. 20 Summary………………………………………………………………….. 21 4. DUET FOR RECORDER (OR OBOE) AND HARPSICHORD (OR HARP) (1969)......................................... 22 Prelude……………………………………………………………………. 24 Aria………………………………………………………………………... 24 Dithyramb………………………………………………………............... 26 Recessional………………………………………………………………. 28 5. VARIATIONS FOR OBOE AND ORGAN (1970)...................................... 30 Prelude……………………………………………………………………. 31 Dithyramb………………………………………………………............... 32 Scherzo…………………………………………………………............... 32 Fantasia…………………………………………………………………... 33 Nocturne………………………………………………………………….. 34 Finale……………………………………………………………………… 34 6. FOR EVENING DRAWS ON (1976)......................................................... 36 8C! 7. REEDS (1987).......................................................................................... 43 Under the shady trees, hidden in the reeds…………………………… 45 Reeds shall grow in the parched ground……………………............... 46 The golden reed………………………………………………………….. 47 The paper reeds by the brooks…………………………………………. 48 A reed shaken with the wind……………………………………………. 50 8. FOR ECHO IS THE SOUL OF THE VOICE (1994).................................. 53 Echo……………………………………………………………………….. 54 Colours……………………………………………………………………. 56 The Conclusion of the Matter…………………………………………… 58 9. ODES (1999)............................................................................................ 60 Ode to the Vigil at Twilight……………………………………............... 61 Ode to the Stillness of the Night………………………………………... 62 Ode to the Dawning of the New Day…………………………………… 63 10. THE SEVEN DAYS (2002)..................................................................... 65 Flowing……………………………………………………………………. 66 Serene…………………………………………………………………….. 66 Quick………………………………………………………………………. 68 Pensive……………………………………………………………………. 68 Questions and Answers…………………………………………………. 69 Playful……………………………………………………………………… 69 Quickstep………………………………………………………………….. 70 11. CONCLUSION........................................................................................ 71 WORKS CITED……….................................................................................. 73 BIOGRAPHICAL SKETCH............................................................................ 76 ! ! ! ! ! ! ! ! ! ! ! ! ! ! 0! LIST OF MUSICAL EXAMPLES Example 1: Pinkham, Duet, mvmt. 2, meas. 1-9, oboe part………………… 25 Example 2: Pinkham, Duet, mvmt. 2, meas. 1-8, harpsichord part………… 25 Example 3: Pinkham, Duet, mvmt. 3, meas. 1, harpsichord part…………… 26 Example 4: Pinkham, Duet, mvmt. 3, meas. 2, oboe part…………………… 27 Example 5: Pinkham, Duet, mvmt. 3, meas. 7, oboe part…………………… 27 Example 6: Pinkham, Duet, mvmt. 4, meas. 1-2, oboe part………………… 28 Example 7: Pinkham, Duet, mvmt. 4, meas. 1-4, harpsichord part………… 28 Example 8: Pinkham, Variations, mvmt. 1, meas. 4, oboe part…………….. 31 Example 9: Pinkham, Variations, mvmt. 1, meas. 1, organ part……………. 31 Example 10: Pinkham, Variations, mvmt. 2, meas. 17-18, oboe part……… 32 Example 11: Pinkham, Variations, mvmt. 3, meas. 1-11, oboe part……….. 33 Example 12: Pinkham, Variations, mvmt. 4, meas. 1, organ part………….. 33 Example 13: Pinkham, Variations, mvmt. 5, meas. 3, oboe part…………… 34 Example 14: Pinkham, Variations, mvmt. 6, meas. 63, oboe part…………. 35 Example 15: Pinkham, For Evening Draws On, p. 3, organ part…………… 40 Example 16: Pinkham, Reeds, mvmt. 1, meas. 1-2………………………….. 45 Example 17: Pinkham, Reeds, mvmt. 3, meas. 1-2………………………….. 47 Example 18: Pinkham, Reeds, mvmt. 4, meas. 1-2………………………….. 49 Example 19: Pinkham, Reeds, mvmt. 5, line 1………………………………. 50 Example 20: Pinkham, Reeds, mvmt. 5, line 3………………………………. 51 Example 21: Pinkham, Reeds, mvmt. 5, lines 4-5…………………………… 51 Example 22: Pinkham, For Echo is the Soul of the Voice, mvmt. 1, meas. 1-2………………………………………………… 55 Example 23: Pinkham, For Echo is the Soul of the Voice, mvmt. 1, meas. 3-4………………………………………………… 55 Example 24: Pinkham, For Echo is the Soul of the Voice, mvmt. 1, meas. 13-14…………………………………….............. 56 Example 25: Pinkham, For Echo is the Soul of the Voice, mvmt. 1, meas. 21-22……………………………………………… 56 C8! Example 26: Pinkham, Odes, mvmt. 2, meas. 1-3, organ part……………... 62 Example 27: Pinkham, Odes, mvmt. 3, meas. 1-2, English horn part……… 64 Example 28: Pinkham, The Seven Days, mvmt. 2, meas. 1, oboe part……. 67 Example 29: Pinkham, The Seven Days, mvmt. 2, meas. 21, oboe part….. 67 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! C88! ABSTRACT ! Daniel Pinkham is best known for having produced one of the largest bodies of works for choir and organ of any composer of the twentieth century, most of which were written for the church. However, he also wrote extensively for other instruments, including guitar, harp, and brass ensemble, and all woodwinds. His instrumental writing includes solo and chamber works and in various combinations with other instruments, organ, and choir, in both sacred and secular settings. This instrumental output includes six works featuring oboe or English horn as a solo instrument. These compositions will be the primary focus of this treatise. They were written over the course of several decades of Pinkham!s life and are representative of his style from 1961 to his death. Although much has been written on the subject of Pinkham!s organ, choral, and sacred composition, very little discussion of Pinkham!s composition has focused on his instrumental writing. Writings on the more widely discussed areas of Pinkham!s composition will provide insight into characteristics that pervade his musical style. Comparisons between what is discussed and Pinkham!s oboe writing from the corresponding period in his life will then be drawn and discussed. It is hoped that this paper will expand the discussion of Pinkham!s work beyond the areas with which his music is most often associated into the area of his instrumental writing, in which his output is nearly equal to that of his choral and organ works.! ! ! C888 CHAPTER 1 INTRODUCTION Daniel Pinkham (1923-2006) was a Boston-based composer best known for having produced one of the largest bodies of work for choir and organ of any American composer of the twentieth century. Most of his choral and organ compositions are sacred and performed in church settings. His catalogue also includes numerous compositions for instruments other than organ, however, including guitar, harp, brass ensemble, and woodwinds. His instrumental writing includes solo and chamber works, both on their own and in various combinations with organ and choir, in both sacred and secular settings. Pinkham!s work is highly respected in the musical community, and much has been written about his choral and organ compositions. It is hoped that this project will expand the discussion of Pinkham!s music beyond the areas with which he is most often associated into the realm of his instrumental writing, an area in which the volume of his output is nearly equal to
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