Through the British School of Music a Thesis Submitted I

Home , Arnold Bax, Artaxerxes (opera), Arthur Bliss, Harriet Cohen, Thomas and Sally, Thomas Arne

CALIFORNIA STATE UNIVERSITY, NORTHRIDGE

Influential British Literature: Through the British School of Music

A thesis submitted in partial fulfillment of the requirements For the Master of Music in Music, Performance

Sabrina M. Nickum

May 2015

The thesis of Sabrina M. Nickum is approved:

______Dr. Lawrence Stoffel Date

______Professor Mary Schliff Date

______Dr. Julia Heinen, Chair Date

California State University, Northridge

TABLE OF CONTENTS

Signature Page…………………………………………………...... ii

Abstract…………………………………………………………………………………………...iv

Introduction………………………...……………………………...... 1

First Early English Composer………………...... 2

Thomas Arne………………………………………………………………………………2

William Herschel………………………………………………………………………….6

Philip Hayes……………………………………………………………………………….6

James Hook………………………………………………………………………………..7

Charles Dibdin…………………………………………………………………………….8

19th and 20th Century English Composers……………………………………………………….10

Arnold Bax……………………………………………………………………………….10

Arthur Bliss………………………………………………………………………………13

Gerald Finzi……………………………………………………………………………...16

Conclusion……………………………………………………………………………………….18

Recital Program………………………………………………………………………………….19

Bibliography……………………………………………………………………………………..20

iii

Abstract

Influential British Literature:

Through the British School of Music

Sabrina M Nickum

Master of Music in Music, Performance

Through researching the earliest British composers and their literature, this thesis will demonstrate how the British School of Music through literature influenced the clarinet. I will focus on the earliest English composers Thomas Arne, William Herschel, Philip Hayes, James

Hook, and Charles Dibdin, and how their literature contributed to clarinet repertoire. I will also describe how the literature of Arnold Bax, Arthur Bliss and Gerald Finzi, and contributed to clarinet repertoire in the late 19th and 20th century.

iv Introduction

The new clarinet with seven finger holes and thirteen keys arrived in England from

Germany and made its first debut in London in early 1726. The earliest known clarinetist who performed on the clarinet in England was Charles Barbandt at his own benefit concert. Charles

Barbandt was originally a German musician and composer who was employed in England as an organist in 1764. After Charles Barbandt, other English clarinetists such as Thomas Habgood and Hugh Pearson were among the earliest clarinetists to perform in England around 1758. With

English clarinetists performing on the clarinet, came English composers who had a sufficient impact on clarinet literature and the clarinetists who performed them. Through researching the earliest British composers and their literature, this thesis will demonstrate how the British School of Music through literature influenced the clarinet. This paper will focus on the earliest English composers Thomas Arne, William Herschel, Philip Hayes, James Hook, and Charles Dibdin, and how their literature contributed to clarinet repertoire. This paper will also mention how the literature of Arthur Bliss, Arnold Bax, and Gerald Finzi contributed to clarinet repertoire in the late 19th and 20th century. The first earliest English composer to be discussed is Thomas Arne.

1 First Early English Composers

Thomas Arne

One of the most significant earliest English composers of clarinet was Thomas

Arne. Thomas Arne as stated by Albert Rice was the first British composer to write for the clarinet.1 Arne was born in London on March 12, 1710 into a catholic family. Arne loved music so when his family was asleep at night he would sneak in a spinet, a type of harpsichord into his room and would muffle the sound with a handkerchief so he would not get in trouble. He was too young to attend the Gallery of Italian Opera, so he would dress up as a deliveryman to gain access to this event. Through this Arne met Michael Festing a musician and composer who had a big impact on Arne’s life and career. Festing taught Arne violin and also took him to musical events to hear other musicians play. When Arne’s father found out what he was doing, he allowed him to pursue music as a full time job. Arne’s first time use of clarinet in a piece was called Thomas and Sally, or the Sailor’s Return. This dramatic pastoral opera consisting of two acts for two C clarinets and two C horns was a huge success. This piece was considered an after piece, a short opera musical performed after a spoken opera. Thomas and Sally, or the Sailor’s

Return was first performed at the Covent Gardens in England and thankfully the copies were not destroyed in a fire at the Covent Gardens. This opera was the about fifty minutes in length and was the first sung comic opera.

1. Albert R. Rice, “The Clarinet in England during the 1760s”, Early Music, Vol. 33, No. 1 (Feb., 2005): 57.

2 In example 12 as stated by Albert Rice:

The score provides precise directions for the timing and placement of the instruments, with the word ‘Enter’ in the directions at bar 16. The first horn walks onto the stage while playing, followed by the second horn, first clarinet and second clarinet. After the instruments finish the first part of the overture, the Squire enters, singing the rousing song ‘The Echoing Horn’, accompanied by the clarinets and horn, In the refrain, an oboe replaces one of the clarinets; violins, cellos, or basses and tenor and bass singers enlarge the ensemble.3

In the beginning when the clarinet and horn parts are present off stage for the first time the technicality of the rhythms are simple and can be performed by memory. The way the clarinets were constructed, the upper register had many restrictions such as stated by Albert Rice for the first clarinet the range is g’ to a”, for the second, e’ to f”.4 For English composers, this made the compositions simple and not complex. British composers started to use the combination of clarinet- horn in their pieces for hunting call style and were used at the London Pleasure

Gardens. In Arne’s piece Artaxerxes that was an opera consisting of three acts, was performed at the Theatre Royal, Covent Gardens in February 1762, and was regularly performed there until the1830s.

3. Albert R. Rice, “The Clarinet in England during the 1760s,” Early Music, Vol. 33, No. 1 (Feb., 2005): 57.

4. Albert R. Rice, “The Clarinet in England during the 1760s,” Early Music, Vol. 33, No. 1 (Feb., 2005): 57.

3 Example 1: Thomas Arne Thomas and Sally or the Sailor’s Return

4 This opera is about Artaxerxes I of Persia who became king after his father Xerxes I’s death. As stated by Albert Rice at the beginning of Act 2, in the aria ‘In fancy our hopes and fears,’ the clarinets begin with the same melodic material as in Thomas and Sally, but in a smooth 2/2 meter rather than a bouncy 3/8. The melody is also presented in a more lyrical manner with a four-bar stepwise phrase, while the horns answer, accompanied by a string ensemble of two violins, one viola, and a continuo of harpsichord and cello.5 In this opera Arne did not limit the clarinet range to as stated by Albert Rice just for the first clarinet the compass is g’ to a’, for the second, e’ to f’6 he extended the range to g-c for the first clarinet and d-c for the second clarinet. The C clarinets in Act 3 as stated by Albert Rice were used to imitate the water-parted from the sea and the orchestra in the background consist of two horns, two clarinets, two bassoons, violins, viola and continuo.7 The two clarinet parts in this piece do not have a solo, but only double the parts with the violins and also paired with the bassoons. The clarinet parts also get to show off their chalumeau register, which is also showing the extension of what the clarinet can do. Arne also writes in two trill parts for the second clarinet to play that can be used without an A-B trill key.

As stated by Albert R. Rice, since English composers started adding trill passages for the clarinet parts British makers decided to make a trill key for the clarinet in the mid-1770s.8

5. Albert R. Rice, “The Clarinet in England during the 1760s,” Early Music, Vol. 33, No. 1 (Feb., 2005): 57.

6. Albert R. Rice, “The Clarinet in England during the 1760s,” Early Music, Vol. 33, No. 1 (Feb., 2005): 57.

7. Albert R. Rice, “The Clarinet in England during the 1760s,” Early Music, Vol. 33, No. 1 (Feb., 2005): 57.

8. Albert R. Rice, “The Clarinet in England during the 1760s,” Early Music, Vol. 33, No. 1 (Feb., 2005): 57.

5 William Herschel

William Herschel was born on November 15, 1738 in Germany. Herschel was German born before coming to Great Britain at nineteen years old. At an early age Herschel was interested in astronomy and constructed his first large telescope. He also had an interest in music.

He learned oboe, violin, harpsichord and organ. As stated by T. Herman Keahey, William

Herschel was one of the earliest composers to use clarinet in a symphony.9

Philip Hayes

Philip Hayes was born in London on April 17, 1738. Hayes was an organist and singer.

Hayes received his education from his father William Hayes. He attended the Magdalen College,

Oxford, where he received some higher education. He appears to have been as stated by Peter

Ward Jones and Simon Heights to be one of the first English musicians to use a roll of paper with which to beat time.10 In Hayes’ compositions as stated by Peter Ward Jones and Simon

Heighes, Hayes’ natural language was a mixture of galant and early classical idioms allied with a characteristically English preference for simple, symmetrically phrased melodies and an assured technique founded upon a thorough acquaintance with the works of Handel.11 While he was receiving his Bachelor of Music, Hayes wrote the masque Telemachus a sextet in E♭ major for clarinet. As stated by Albert Rice, the parts for the clarinets must have been meant for B♭

9. T. Herman Keahey. "Herschel, Sir William." Grove Music Online. Oxford Music Online. (Oxford University Press, 2007).

10. Peter Ward Jones and Simon Heighes. "Hayes." Grove Music Online. Oxford Music Online. (Oxford University Press, 2007).

11. Peter Ward Jones and Simon Heighes. "Hayes." Grove Music Online. Oxford Music Online. (Oxford University Press, 2007).

6 clarinet, even though written at concert pitch since a second clarinet in C would be required to play E♭ and A♭, which are very difficult to produce in tune on the generally available five- key clarinet. C clarinets were used in additional sections that were in different keys such as C and F major12, soon in example 213

Example 2: Philip Hayes Telemachus, a Masque in two acts

James Hook

James Hook, an English composer was born on June 3, 1746 in the Parish St. John. He was the son of James Hook. At a young age of four, Hook already played Harpsichord and was able to play concertos in public at the age of six. He later moved to London after his father died to further his career in teaching, composing and playing. The first job Hook had was as an

12. Albert R. Rice, “The Clarinet in England during the 1760s,” Early Music, Vol. 33, No. 1 (Feb., 2005): 59.

13. Philip Hayes, Telemachus, a Masque in two acts © 1763 University of Oxford.

7 organist for the White Conduit House, a tea garden in London. As stated by Albert Rice, Hook contributed to the clarinet literature in a series of his song collections through the 1790s, many of which were written for the soprano Frederica Weischsel, whose husband Carl as a clarinetist. 14

This was the first time where we can see the English composers writing for E♭ clarinet and B♭ clarinets in a song collection.

Charles Dibdin

Charles Dibdin as stated by Peter Ward Jones and Simon Heighes was an English composer, dramatist, poet, novelist, actor, singer, and entertainer, 15 who was born on Match 4,

1765. Charles Dibdin claimed to have attended the Winchester College for education, but in records do not support his claim. Dibdin was a self-taught composer who learned by going to the theater. As stated by Peter Ward Jones and Simon Heighes, he was only 18 when he published more or less in full score, A Collection of English Songs and Cantatas, and a year later John

Beard, the manager of Covent Garden, accepted The Shepherd’s Artifice, an all-sung pastoral for which Dibdin wrote both words and music; he sang the leading role himself.16 Dibdin contributed to the clarinet literature by writing an opera called Lionel and Clarissa written in

1768. This opera had cues written in for C clarinets as stated by Peter Ward Jones and Simons

Heighes the clarinet part emanated in the rondeau ‘Hope and fear alternate rising strive’ in at

14. Albert R. Rice, “The Clarinet in England during the 1760s,” Early Music, Vol. 33, No. 1 (Feb., 2005): 57.

15. Peter Ward Jones and Simon Heighes. “Hayes.” Groves Music Online Oxford Music Online. (Oxford University Press, 2007).

16. Peter Ward Jones and Simon Heighes. "Hayes." Grove Music Online. Oxford Music Online. (Oxford University Press, 2007).

8 least one short score now preserved in the Bibliotheque Nationale.17 The second half of this paper will discuss the 19th and 20th century English composers who wrote for clarinet such as

Arnold Bax, Arthur Bliss and Gerald Finzi.

17. Peter Ward Jones and Simon Heighes. "Hayes." Grove Music Online. Oxford Music Online. (Oxford University Press, 2007).

9 19th and 20th Century English Composers

Arnold Bax

Sir Arnold Bax was one of the leading British composers of his time, who started off very young composing and playing piano in his teens with the help from his father, Alfred Bax. Sir

Arnold Bax was an English composer and poet, who was born in Pen Dennis Road Stratham,

London on Nov. 8, 1883. Sir Arnold Bax grew up in a mansion called Ivy Banks, which his father Alfred Bax purchased. For fourteen years of Bax’s life, the Ivy Banks mansion had a big impact on his musical development, where he learned to create and study music. The song

Butterflies all White was considered to be Arnold Bax’s first composition while living in the Ivy

Banks mansion. According to the book “Bax: A composer and his times,” by Lewis Foremen, the composition by Bax, Butterflies all White, there are no surviving copies to prove this was the first composition of Bax. His second wife Harriet Cohen now preserved compositions that were written in 1900 by Bax, at the British Museum. Some of Bax’s early works were also preserved inside the museum. Bax attended the Royal Academy of Music when he was 17 years old in

September 1900. The Royal Academy of Music was founded in 1822. As stated by Lewis

Foreman, at the College, composition was taught under the gimlet eye of Stanford, reflecting the

Brahmsian approach. The Academy tended to be freer and more Wagner orientated.18 Bax’s composition teacher at RAM was Frederick Corder, as stated by Lewis Foreman, was the author of one of the first English-language studies of Liszt.19 Bax wrote a piece for two pianos called

18. Lewis Foreman, Bax A composer and his times (London: British Library Cataloguing Publication data, (1983), 11.

19. Lewis Foreman, Bax A composer and his times (London: British Library Cataloguing Publication data, (1983), 11.

10 Fantasia in A minor, which was dated back to October 28, in the early 1900’s which was one of

Bax’s earlier pieces he wrote at the RAM. This was when Bax realized the possibilities of where his talents could take him. At RAM Bax was making an important impact with his compositions, but according to Fredrick Foreman, some of the English composers were soon forgotten due to their manuscripts and orchestral materials that were lost. Bax was inspired by Irish inspired music and literature. The Irish inspired Bax’s writings and he completed his first symphonic poem called In the Faery Hills on June 28, 1909. This symphonic poem was considered to be

Bax’s greatest works and was also published. The symphonic poem In the Faery Hills, included

Into the Twilight, Le Sacre, and The Garden of Fand, which was discovered in a later score. As stated by Edwin Evans, ‘The Garden of Fand’ is inspired by the legend of the enchanted islands off the Atlantic shore, and penetrates more deeply into the West of Ireland mood than In the

Faery Hills.20 Arnold Bax contributed to the clarinet literature was by composing the Sonata for

Clarinet and Piano, shown in example 321 the Sonata for Clarinet and Piano was composed in

June of 1934; this was one of Bax’s later works composed in the late romantic era. This particular piece was not popular and was only performed twice when the piece was first composed. The first time the Sonata for Clarinet and Piano was performed was on June 13, 1935 at the London Contemporary Music Centre Concert. The Clarinet Sonata has two movements, which is only fifteen minutes in length. This was not one of Bax’s famous pieces that drove his

20. Edwin Evans, “Modern British Composers. II. Arnold Bax,” The Musical Times, Vol. 60, No. 913 (March 1, 1919): 105.

21. Arnold Bax, Sonata for Clarinet and Piano. ©1935 by Murdoch, Murdoch & Co. Assigned 1943 to Chappell & Co., Ltd. Reproduced by Permission of International Music Publication Ltd., London. Printed & distrusted by studio Music Company, Cadence House, Eaton Green Road, Luton, Beds. LU2 9LD, England.

11 works for being the most influential composer of his time, but the beautiful Example 3: Arnold

Bax the Sonata for Clarinet and Piano lyrical sections in the first movement made up for that.

Since Bax became older and composed less and less, his style and lengths of the compositions became shorter and less complex. This piece was written for Harriet Cohen and was suggested that first and second movement for this sonata was a reflection of their relationship. Example 3 is

Bax’s original score he hand wrote himself.

Example 3 Arnold Bax Sonata for Clarinet and Piano

12 Arthur Bliss

Arthur Bliss was born on August 21, 1891 in London. Bliss was an English composer and was educated at Rugby and Pembroke College in Cambridge. At Rugby and Pembroke College he studied counterpoint, for composition, and later for a year Bliss went to the Royal College of

Music in London. When Bliss attended RCM he studied conducting with Stanford. Bliss took up a conducting job in 1921 with the Portsmouth Philharmonic Society where he became one of the most important conductor-composers of his generation. Bliss moved to America in 1923, where he moved to Santa Barbara, California. As stated by Hugo Cole and Andrew Burn, Bliss wrote little music in America, but was actively conducting until he married and decided to move back to England.22

When Bliss moved back to England, as stated by Hugo Cole and Andrew Burn, he began composing:

The Introduction and Allegro of 1926, dedicated to the Philadelphia Orchestra and Stokowski, was the first of many works written for virtuoso ensembles or soloists – a series that included the Clarinet and Oboe Quintets (for Thurston and Goossens), the Viola Sonata (for Tertis) and the Piano, Violin and Cello Concertos (for Solomon, Campoli and Rostropovich). The Pastoral: Lie Strewn the White Flocks was the first of many works written for amateur choirs. In 1935 he firmly established his position as Elgar's natural successor with the Romantic, expansive and richly scored Music for Strings.23

Arthur Bliss contributed to the clarinet literature by composing the Pastoral and the

Clarinet Quintet. In 1916 Arthur Bliss wrote the Pastoral while in the French military. This piece was written after Bliss found out his brother died. This is the only piece from Bliss’ early

22. Hugo Cole and Andrew Burn. "Bliss, Sir Arthur." Grove Music Online. Oxford Music Online. (Oxford University Press, 2007).

23. Hugo Cole and Andrew Burn. "Bliss, Sir Arthur." Grove Music Online. Oxford Music Online. (Oxford University Press, 2007).

13 works he kept. The piece shows love of the country, and the tragedy of war. The piece was played with heartache and sensitivity.

The Clarinet Quintet instrumentation consisted of clarinet and string quartet, which was a huge success. As stated by Eric Blom, the string quartet is homogenous from top to bottom; the clarinet has at least three different tone-qualities, all so distinctive that they tend to make it stand entirely away from the string texture.24 I will just show some examples of the first and second movement to show how Bliss contributed to the clarinet literature. The first movement,

Moderato, begins with clarinet alone in a long melodic line shown in example 425

Example 4 Arthur Bliss The Clarinet Quintet Moderato

24. Eric Blom, “The Clarinet Quintet of Arthur Bliss,” The Musical Times, Vol. 74, No. 1083 (May, 1933): 425.

25. Eric Blom, “The Clarinet Quintet of Arthur Bliss,” The Musical Times, Vol. 74, No. 1083 (May, 1933): 425.

14 The clarinet part would after hand the melodic line over to the first violins. Eric Blom states that the tonality is indefinite, the rhythmic flow irregular; a dry, atonal fugue is expected-one of those musico-geometrical propositions that look well on paper, but which the ear alone cannot solve and which are therefore artistically.26 In the second movement Allegro molto has an interesting outstanding strains that will naturally lead into one another show in example 5.27 The outstanding strain is between the cello and second violin parts, in example 628, when the clarinet part is present you can see the transformation of the softer side of Bliss works.

Example 5 Arthur Bliss The Clarinet Quintet Allegro Molto

26. Eric Blom, “The Clarinet Quintet of Arthur Bliss,” The Musical Times, Vol. 74, No. 1083 (May, 1933): 425.

27. Eric Blom, “The Clarinet Quintet of Arthur Bliss,” The Musical Times, Vol. 74, No. 1083 (May, 1933): 425.

28. Eric Blom, “The Clarinet Quintet of Arthur Bliss,” The Musical Times, Vol. 74, No. 1083 (May, 1933): 425.

15 Example 6 Arthur Bliss The Clarinet Quintet Allegro Molto

Gerald Finzi

Gerald Finzi was born on July 14, 1901 and was the son to a shipbroker. Ernest Farrer privately educated Finzi and later when Ernest Farrer joined the army, Edward Bairstow educated Finzi. Finzi was taught at the Royal Academy of Music RAM from 1930 to 1933 where he composed some of his most important works. Finzi wrote two clarinet pieces, which were the

Concerto for Clarinet and Orchestra and Five Bagatelles for Clarinet and Piano. The Concerto for Clarinet and Orchestra as stated by Lennox Berkeley, “A concerto in the strict sense… both gay and brilliant without necessarily being profound or aiming at dramatic effects,”29 Finzi’s

Clarinet Concerto is an energetic and festive piece, which expresses in its lyricism and form new abruptness.

29. I.K., “Review,” Music & Letters, Vol. 33, No. 1 (Jan., 1952): 93.

16 As stated by John Russell:

In fact, at the first performance in 1949, listeners who knew and loved Finzi’s work found themselves describing a passage at the end of the first movement as “affected”-the last word one would usually apply to this composer. This passage was one which, indeed, had slightly over-reached itself in compression, and has since been given “room to breathe” by the addition of a short cadenza. The string writing is luxuriant and the solo part is athletic and exciting. 30

The second piece Finzi wrote for Clarinet was Five Bagatelles for Clarinet and Piano, which he was most famous for. Five Bagatelles for Clarinet and Piano was written during the war. As stated by Boosey and Hawkes, the second movement and the fourth movement, Forlana, contain beautiful passages obviously written with feeling and sincerity.31 The idea of Finzi’s recreation section of lyrical styles only happen once as a reproduction of old material meaning that Finzi does not make the lyrical style aware again in a new and exciting way. The first Prelude, and last

Fughetta movements of the piece demonstrates Finzi’s energetic side of his music. Even though the first and last movements are energetic, they still lack an adventurous style just staying the same way in rhythms and lyrical passages with little new ideas and mostly staying fundamentally conservative.

30. John Russell, “Gerald Finzi: An English Composer,” Tempo, No. 33 (Autumn 1954):

31. I.K., “Review,” Music & Letters, Vol. 33, No. 1 (Jan., 1952): 93.

17 Conclusion

In conclusion, Arne, Herschel, Hayes, Hook, and Dibdin were the first English composers to have written for clarinet in the early 1760s. With the new clarinet arriving in

England from Germany in the early 1700s, the need for clarinet repertoire opened the door for

English composers to write pieces for these clarinetist’s in the early 1760s. The 19th and 20th century brought us three very important English composers who were able to write a more complex style of music for the ever evolving clarinet. The composers could freely write for the clarinet since the range became higher and more flexible. There was a need for English clarinet music since the later composers started going to the British School of Music. Having formal musical training through the British School of Music, these three composers showed how truly relevant and inspiring their compositions were not only in their time, but also in the present.

18 Recital Program

Sabrina M Nickum

Master of Music in Clarinet Performance

April 26, 2015

California State University, Northridge

Recital Hall

Pastoral Arthur Bliss (1891-1975)

Sonata for Clarinet and Piano Arnold Bax Molto Moderato (1883-1953) Vivace

Sonatina for Clarinet and Piano Malcolm Arnold Allegro con brio (1921-2006) Andantino Furioso

Four Charateristic Pieces William Hurlstone Ballade (1876-1906) Croon Song Intermezzo Scherzo

Concert For Clarinet and Piano Gerald Finzi Allegro Vigoroso (1901-1956)

Bibliography

Bax, Arnold. Farewell, My Youth and Other Writings. United Kingdom: Scolar Press, 1992.

Bax, Arnold. Sonata for Clarinet and Piano. ©1935 by Murdoch, Murdoch & Co. Assigned 1943 to Chappell & Co., Ltd. Reproduced by Permission of International Music Publication Ltd., London. Printed & distrusted by studio Music Company, Cadence House, Eston Green Road, Luton, Beds. LU2 9LD, England.

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Cole, Hugo, and Andrew Burn. "Bliss, Sir Arthur." Grove Music Online. Oxford Music Online. Oxford University Press, accessed April 9, 2015, http://www.oxfordmusiconline.com/subscriber/article/grove/music/03281.

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