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THE PROFESSIONAL LIFE and PEDAGOGY of CLEMENT BARONE DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degre

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THE PROFESSIONAL LIFE and PEDAGOGY of CLEMENT BARONE DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degre THE PROFESSIONAL LIFE AND PEDAGOGY OF CLEMENT BARONE 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 Emily J. Butterfield, M.M. * * * * * The Ohio State University 2003 Document Committee: Professor Katherine Borst Jones, Adviser Approved by Professor R. J. David Frego Professor Donald Gibson ___________________________ Adviser Professor Christopher Weait School of Music Copyright by Emily J. Butterfield 2003 ABSTRACT Orchestral musician and teacher Clement Barone (1921-), played piccolo in the Detroit Symphony Orchestra and the Houston Symphony Orchestra for over forty years. A native of Philadelphia, Barone plays an open g-sharp system, which he learned from his first teacher, his flutist-father Clemente Barone. Subsequent teachers included Joseph La Monaca, Frank Versaci, Fernando Morrone, and the eminent William Kincaid, who recommended Barone for his first major orchestral position: piccolo and assistant first flute in the Houston Symphony Orchestra. While playing in Houston, Barone secured and refined his piccolo technique performing for conductors Efrem Kurtz, Sir Thomas Beecham, and Leopold Stokowski. In 1959 Barone moved to Detroit to play piccolo in the Detroit Symphony Orchestra under principal conductor Paul Paray. During his thirty-two year career in Detroit, Barone collaborated with fellow flutists Albert Tipton, Irvin Gilman, and later members, Ervin Monroe, Shaul Ben-Meir, and Robert Patrick. In addition to presenting a chronological study of Barone’s professional activities, this document also discusses selected aspects of Barone’s flute and piccolo pedagogy, formed from his premise that the flute “should imitate the human singing voice in style and quality of lyricism.” ii Additional chapters include an account of lessons with William Kincaid, a discussion of Barone’s publication, Learning the Piccolo: A Treatise on the Subtleties and Problems of Playing the Piccolo in Relation to the Flute (1975), and Barone’s perception of changes in orchestral procedures as they impact the professional orchestral musician. iii Dedicated to my family iv ACKNOWLEDGMENTS I wish to express my most sincere gratitude and appreciation to Clement Barone for his invaluable participation and assistance in this project. His endless enthusiasm for music and life remain ever so amazing and inspiring. I cannot thank him enough. I also would like to thank Margaret Barone for her support and encouragement as I completed this project. A special note of appreciation must also go to the many individuals who so willingly spoke with me: Shaul Ben-Meir; Herb Couf; Mario Di Fiore; Irvin Gilman; Bill Holcombe; Hubert Laws; Ervin Monroe; Tom Perazzoli; Mary Scudder; Eldred Spell; and Miles Zentner. I also wish to especially thank Tiffany Stozicki and the Detroit Symphony Orchestra for allowing me access to their records and program books; Houston Symphony Archivist Terry Brown for locating programming and orchestral personnel details; Jane Dodgen and Elizabeth Chaussé for their proofreading skills; and Professor Alan Green, Director of The Ohio State University Music and Dance Library for his expert advice on the interview process. Many thanks also to John Guinn, The Detroit Free Press music critic; Bruce Carr, former Detroit Symphony Orchestra manager; JoAnne Barry of the Philadelphia Orchestra Archives; Miriam Ciesla, for her research on Ellis Island; and Anne O’Donnell, Director of Alumni Relations at The Curtis Institute of Music. v I also wish to sincerely thank my advisor, Professor Katherine Borst Jones, and the other members of my committee: Dr. R. J. David Frego; Dr. Donald Gibson; and Professor Christopher Weait for their invaluable expertise and guidance. Finally, I wish to extend my deepest gratitude to my husband, Dr. Edward C. Holmes, for his patience and technical assistance in completing this document. I also wish to express my appreciation for the encouragement and support he has provided me throughout my degree program. vi VITA Education 1987 M.M., Applied Flute The Florida State University 1984 B.M., Instrumental Music Education Michigan State University Employment 1999–2002 Flute Graduate Teaching Associate The Ohio State University 1998–1999 Visiting Instructor of Music Education Department of Music, Morehead State University Morehead, KY 1997–1998 Instrumental Music Teacher San Diego Unified School District, San Diego, CA 1995 Lecturer in Music Education University of Wisconsin-River Falls 1991–1994 Vocal and Instrumental Music Teacher Independent School District #885, St. Michael, MN 1988–1990 Faculty Woodwind Quintet Department of Music, Hope College, Holland, MI 1981–Present Private Flute Instructor Columbus, OH, Minneapolis, MN, Holland, MI East Lansing, MI vii RECITALS Doctor of Musical Arts Degree 6 May 2002 Solo Recital Hindemith Sonatine, Op. 31 Nr. 3, Gaubert Fantaisie, Villa-Lobos Assobio a Jato, Martin Ballade, and Parker Games for Flute and Clarinet 21 February 2002 Chamber Recital Beethoven Serenade in D Major, Op. 25, Ewazen Ballade, Pastorale, and Dance, Lully, arr. Rosso “Prelude et Air pour l ‘Amour” from Le Triomphe de l’Amour for Flute Quartet, and Higdon Steeley Pause 2 April 2001 Solo Recital Benda Sonate No. 1 in G Major, Op. III, Roussel Deux Poèmes de Ronsard, Op. 26, No. 2 for flute and voice, Messiaen Le Merle Noir, Berio Sequenza per Flauto Solo, and Widor Suite, Op. 34 7 May 2000 Solo Recital Bach Sonata in G Major, “Hamburger,” Lennon Echolalia for Solo Flute, Sancan Sonatine, Villa-Lobos Bachianas Brasileiras No. 6, and Reinecke Sonata “Undine” FIELDS OF STUDY Major Field: Music Applied Flute Studies in: Flute: Katherine Borst Jones Music Education: Patricia Flowers Woodwind Literature: Christopher Weait Musicology: Charles Atkinson Eurhythmics: R. J. David Frego Music Theory: David Butler viii TABLE OF CONTENTS Page Abstract ........................................................................................................................ii Dedication ...................................................................................................................iv Acknowledgments ......................................................................................................v Vita ..............................................................................................................................vii List of Tables ..............................................................................................................xii List of Figures ...........................................................................................................xiii A Chronology of the Professional Life of Clement Barone....................................... 1 Introduction ................................................................................................................. 3 Chapters: 1. A biography of Clement Barone: the formative years, 1921 to 1948 ................... 6 2. A selected account of lessons with William Kincaid .......................................... 36 3. Clement Barone’s orchestral auditions ................................................................ 53 4. Barone’s career in the Houston Symphony Orchestra, 1948 to 1959 ................. 59 5. Barone’s career in the Detroit Symphony Orchestra, 1959 to 1991 ................... 81 6. A first-hand account of changes in orchestral procedures .............................. 114 7. Barone's approach to teaching ............................................................................ 123 8. Barone's piccolo book .......................................................................................... 136 9. Selected essential concepts of flute and piccolo playing .................................. 150 ix Epilogue ................................................................................................................... 170 Bibliography ............................................................................................................ 259 x Appendices: A. Margaret Barone’s letter to the author............................................................... 172 B. Leopold Stokowski’s letter to Clement Barone ................................................. 174 C. Letter to Clement Barone from Spring Branch ISD .......................................... 176 D. Detroit Symphony Orchestra employment agreement ................................... 177 E. Flute sections of the Detroit Symphony Orchestra, 1959 to 1991 .................... 178 F. Clement Barone, Soloist, Detroit Symphony Orchestra children’s concert..... 179 G. A poem by Irvin E. Gilman: Imagine A Flute!!! ................................................ 180 H. Clement Barone’s piccolos ................................................................................. 183 I. Additional pedagogical materials ....................................................................... 184 J. A List of students who studied with Clement Barone....................................... 192 K. A Limerick ........................................................................................................... 194 L. Clement Barone and the author ......................................................................... 195 M. A List of interviewees......................................................................................... 196 N. Selected discography ........................................................................................
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