AN ANALYTICAL LOOK AT TRUMPET SOLO WORKS BY EUGÈNE BOZZA, VINCENT PERSICHETTI, HALSEY STEVENS, ALEXANDER ARUTUNIAN, ERIC EWAZEN, AND ERNEST BLOCH by DEBORAH CALDWELL B.M.E. Ouachita Baptist University, 2009 A REPORT submitted in partial fulfillment of the requirements for the degree MASTER OF MUSIC School of Music, Theater, and Dance College of Arts and Sciences KANSAS STATE UNIVERSITY Manhattan, Kansas 2015 Approved by: Major Professor Dr. Gary Mortenson Abstract This report is an analysis and exploration of the following works: Eugène Bozza’s Caprice, Vincent Persichetti’s The Hollow Men, Halsey Stevens’s Sonata for Trumpet and Piano, Alexander Arutunian’s Concerto for Trumpet, Ernest Bloch’s Proclamation, and Eric Ewazen’s Grand Valley Fanfare. The purpose of this report is to aid performance preparation of these pieces by providing thematic and formal analysis as well as identifying general unifying elements for each piece. Once identified, these patterns will help the performer communicate the broad musical ideas to the audience by finding a balance between the technical aspects and musical statements in each work. Table of Contents List of Figures ................................................................................................................................. v Acknowledgements ........................................................................................................................ vi Preface........................................................................................................................................... vii Literature ................................................................................................................................... vii General Advice ........................................................................................................................ viii CHAPTER 1 - Caprice ................................................................................................................... 1 Biographical Information on Eugène Bozza ............................................................................... 1 Theoretical Analysis ................................................................................................................... 1 Stylistic and Technical Considerations ....................................................................................... 5 CHAPTER 2 - The Hollow Men ................................................................................................... 10 Biographical Information on Vincent Persichetti ..................................................................... 10 Theoretical Analysis ................................................................................................................. 11 Stylistic and Technical Considerations ..................................................................................... 14 CHAPTER 3 - Trumpet Sonata .................................................................................................... 19 Biographical Information on Halsey Stevens ........................................................................... 19 Theoretical Analysis ................................................................................................................. 19 Movement 1, Allegro moderato ............................................................................................ 20 Movement 2, Adagio tenero ................................................................................................. 23 Movement 3, Allegro ............................................................................................................ 25 Stylistic and Technical Considerations ..................................................................................... 29 CHAPTER 4 - Arutunian Trumpet Concerto ............................................................................... 34 Biographical Information on Alexander Arutunian .................................................................. 34 Theoretical Analysis ................................................................................................................. 34 Stylistic and Technical Considerations ..................................................................................... 40 CHAPTER 5 - Proclamation ........................................................................................................ 44 Biographical Information on Ernest Bloch ............................................................................... 44 Theoretical Analysis ................................................................................................................. 45 Stylistic and Technical Considerations ..................................................................................... 48 iii CHAPTER 6 - Grand Valley Fanfare .......................................................................................... 49 Biographical Information on Eric Ewazen ............................................................................... 49 Theoretical Analysis ................................................................................................................. 49 Stylistic and Technical Considerations ..................................................................................... 51 Bibliography ................................................................................................................................. 52 Appendix A - Program and Concert Information ......................................................................... 55 Appendix B - The Hollow Men by T. S. Eliot .............................................................................. 56 Appendix C - Program Notes ........................................................................................................ 59 Appendix D - Formal Analysis ..................................................................................................... 62 iv List of Figures Figure 1.1 Bozza, m. 4, Fanfare Motive ......................................................................................... 2 Figure 1.2 Bozza, three measures after Rehearsal 3, March Motive .............................................. 3 Figure 1.3 Bozza, triple tongue breakdown .................................................................................... 6 Figure 1.4 Bozza, Fanfare Theme before Rehearsal 19 with eighth-note pulses ........................... 8 Figure 2.1 Persichetti, mm. 1-2 and 3-4, piano melody ................................................................ 12 Figure 2.2 Persichetti, Rehearsal A to D, First Pitches Practice ................................................... 16 Figure 2.3 Persichetti, subdividing with Tongue, Letter G........................................................... 18 Figure 3.1 Stevens, use of rhythmic motive ................................................................................. 21 Figure 3.2 Stevens, similar melodic motives ................................................................................ 22 Figure 3.3 Stevens, trumpet thematic similarities ......................................................................... 27 Figure 4.1 Arutunian, Motive Mb with various examples ............................................................ 35 Figure 4.2 Arutunian, Motive A with various examples .............................................................. 36 Figure 4.3 Arutunian, Motive C, m. 233....................................................................................... 37 Figure 4.4 Arutunian, trumpet m. 35, 39, and 44.......................................................................... 41 Figure 4.5 Arutunian, Cadenza, Decrescendo .............................................................................. 43 Figure 5.1 Bloch, m. 1, Theme 1 .................................................................................................. 45 Figure 5.2 Bloch, m. 70, Theme 2 ................................................................................................ 46 Figure 6.1 Ewazen, m. 1, Trumpet 1, Simplified Rhythm ............................................................ 49 Figure 6.2 Ewazen, m. 1, Theme A .............................................................................................. 50 Figure A.1 Recital Program .......................................................................................................... 55 v Acknowledgements I would like to thank all of my family and friends all around the world for their continuous support as I completed my Master of Music Degree in Trumpet Performance at Kansas State University. Thank you to Dr. Gary Mortenson for teaching me how to become a better musician, trumpet player, and colleague—thank you for pushing me to do things I thought impossible and for providing the encouragement and performance opportunities I needed to continue enjoying the trumpet and my education. Special thanks to Dr. Craig B. Parker, Dr. Frederick Burrack, Dr. Jacqueline Fassler-Kerstetter, Dr. Karen Large, and Dr. Gary Mortenson for their instruction in the classroom as well as their revisions of this report. I would like to recognize Dr. Craig Weston and Dr. Steve Maxwell for their guidance as I navigated the duties of my Graduate Teaching Assistantship. Thank you also to Amanda Arrington for her steadfast patience and faithful musicianship these past two years in numerous performances together, including my recital. I