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2010 Gordon Jacob: A Background and Study of His Works for Wind Octet Matthew William Fay

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THE FLORIDA STATE UNIVERSITY

COLLEGE OF MUSIC

GORDON JACOB: A BACKGROUND AND STUDY OF HIS WORKS FOR WIND OCTET

By

MATTHEW WILLIAM FAY

Degree Awarded: Summer Semester, 2010

A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts

Copyright © Summer 2010 Matthew Fay All Rights Reserved

The members of the committee approve the treatise of Matthew William Fay defended on June 28, 2010

______Jeffrey Keesecker Professor Directing Treatise

______James Mathes University Representative

______Patrick Meighan Committee Member

______Richard Clary Committee Member

The Graduate School has verified and approved the above-named committee members.

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ACKNOWLEDGEMENTS

I would first like to thank my treatise advisor, Professor Jeffrey Keesecker, for his help, direction, and guidance throughout all the stages of this project. He has been instrumental in helping me develop, refine, and complete this important task. I would like to thank Professor Eva Amsler, for her constant interest and support of this project. She has helped me to see the far- reaching potential of this document. I am appreciative of Professor Richard Clary‟s insight and experience with conducting and teaching chamber music. I am also grateful to Dr. James Mathes for his analysis of my work, introducing me to new theoretical methods, stretching my thoughts to incorporate both theory and performance. I would like to thank Margret Jacob Hyatt, Gordon Jacob‟s widow, for her help with this project. Her valuable assistance has given me the opportunity to make this idea a reality. I also offer my gratitude to Dr. Geoff Ogram, whose love and devotion to Gordon Jacob‟s music provided the starting point for this study. To my fellow colleagues in the College of Music, thank you for your undying support during this entire process. Were it not for your help, suggestions, and assistance, this project would never have come to be. I am grateful to my mother Annette, and brother Andrew, for their unwavering support and encouragement throughout this entire process. Without them, this project would not have been possible. I am also indebted to Sara for her love, devotion, and passion to see me succeed at every level of my profession.

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TABLE OF CONTENTS

LIST OF FIGURES v ABSTRACT vii

INTRODUCTION 1

Chapter 1: BIOGRAPHY 4

Chapter 2: JACOB‟S WRITINGS ON MUSIC 23

Chapter 3: DIVERTIMENTO IN E-FLAT 41

Chapter 4: THREE ELIZABETHAN FANCIES 52

Chapter 5: SERENADE FOR WOODWIND 72

CONCLUSION 88

BIBLIOGRAPHY 89

BIOGRAPHICAL SKETCH 93

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LIST OF FIGURES

1.1 Jacob as a boy 4

1.2 Jacob‟s father and mother 5

1.3 Prison Camp Ensemble at Bad Colberg, Germany, 1918 9

1.4 Performers at one of the celebrated Gerard Hoffnung Concerts of Musical Humor. 16

1.5 Jacob‟s seventieth birthday concert 18

1.6 Jacob with wide manuscript paper and bright lights 22

3.1 Divertimento in E-flat, movement 1, measures 1-4 41

3.2 Divertimento in E-flat, movement 1, coda 43

3.3 Divertimento in E-flat, movement 2, measures 13-16 45

3.4 Divertimento in E-flat, movement 2, measures 70-72 47

3.5 Divertimento in E-flat, movement 3, measures 5-10 48

3.6 Divertimento in E-flat, movement 3, measures 29-32 49

3.7 Divertimento in E-flat, movement 3, measures 97-102 50

4.1 Three Elizabethan Fancies, movement 1, measures 1-4 52

4.2 Three Elizabethan Fancies, movement 1, measures 9-12 53

4.3 Three Elizabethan Fancies, movement 1, measures 72-75 55

4.4 Three Elizabethan Fancies, movement 1, measures 82-86 56

4.5 Three Elizabethan Fancies, movement 2, measures 1-4 57

4.6 Three Elizabethan Fancies, movement 2, measures 19-22 59

4.7 Three Elizabethan Fancies, movement 2, measures 31-34 61

4.8 Three Elizabethan Fancies, movement 3, measures 1-4 62

4.9 Three Elizabethan Fancies, movement 3, measures 9-12 63

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4.10 Three Elizabethan Fancies, movement 3, measures 21-24 64

4.11 Three Elizabethan Fancies, movement 3, measures 32-36 66

4.12 Three Elizabethan Fancies, movement 3, measures 46-49 67

4.13 Three Elizabethan Fancies, movement 3, measures 64-67 69

4.14 Three Elizabethan Fancies, movement 3, measures 88-92 70

5.1 Serenade for Woodwind, movement 1, measures 1-4 72

5.2 Serenade for Woodwind, movement 1, measures 29-35 73

5.3 Serenade for Woodwind, movement 2, measures 1-4 75

5.4 Serenade for Woodwind, movement 2, measures 37-39 76

5.5 Serenade for Woodwind, movement 3, measures 1-4 77

5.6 Serenade for Woodwind, movement 3, measures 29-31 79

5.7 Serenade for Woodwind, movement 4, measures 16-18 80

5.8 Serenade for Woodwind, movement 5, measures 1-5 81

5.9 Serenade for Woodwind, movement 5, measures 26-29 81

5.10 Serenade for Woodwind, movement 6, measures 1-5 83

5.11 Serenade for Woodwind, movement 6, measures 13-17 84

5.12 Serenade for Woodwind, movement 7, measures 88-91 86

5.13 Serenade for Woodwind, movement 8, measures 10-13 87

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ABSTRACT

Gordon Jacob‟s compositions include a wide variety of works, from unaccompanied solos to symphonies for orchestra. Jacob has become best known for his compositions for solo wind instruments. Previous studies of his music have focused on a single instrument, such as oboe, or works for large groups of instruments, such as wind ensembles. Jacob‟s works for chamber winds, however, have received little attention thus far. This treatise explores and analyzes Jacob‟s works for wind octet. This exploration takes three distinct directions. First, Jacob‟s life is discussed, with attention paid to his contribution to wind instruments, specifically chamber music. Second, Jacob‟s writings on music are covered with attention paid to how and why Jacob composed music for wind instruments. Lastly, Jacob‟s three wind octets are analyzed with attention paid towards his exceptional skill composing for chamber winds. The wind octets offer an opportunity for performers to play music by a skilled composer for wind instruments. In addition, the audience is given the opportunity to hear music that both charms and moves the listener. Studying how and why Jacob created these works provides valuable insight into the care and craftsmanship with which these works for chamber winds were created.

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INTRODUCTION

Gordon Jacob began composing early in childhood and continued until his death at the age of eighty-nine. He composed some four hundred works for almost every conceivable medium and combination of instruments. These include lengthy works for choir and orchestra to thirty-second vignettes for a single instrument. Of these four hundred works, only a small number have been published, and even fewer are performed. The first step to understanding Jacob‟s compositions is knowing the composer himself, with respect to his life, influences, and experiences. Jacob had a long and diverse life, experiencing everything from wars to celebrations. Different periods of his life, such as his years as a student at the Royal College of Music, offer insight into the mindset of the composer. Jacob‟s interest in instrumental music began when he entered college, having heard small scale works, such as Igor Stravinsky‟s L’Histoire du Soldat (The Soldiers Tale). This exposure to wind instruments, specifically chamber winds, left Jacob with a newfound interest and direction. The study of instrumental music was difficult, however, due to the fact that the majority of information Jacob gained about instruments was self-attained. After achieving a deep knowledge and understanding of instruments, as well as the art of composition itself, Jacob began to write texts that would offer help and assistance to those looking for the same instruction. Other texts had been written explaining instruments and how they function. These include but are not limited to Hector Berlioz‟s Treatise on Instrumentation (1844), later revised by Richard Strauss, and Cecil Forsyth‟s Orchestration (1914). “He (Jacob) always paid tribute to the importance and indispensability of Cecil Forsyth‟s Orchestration. Its exhaustive summaries of the capabilities and limitations of orchestral instruments . . . .”1 The Composer and His Art (1955) takes a general view of composing, looking at the challenges and studies one must undertake to be successful. Individual elements such as melody and form are treated with the same detail as instrumentation and orchestration. In addition, Jacob spends a great deal of time discussing how to teach students about the art of composition. This includes listening to a wide variety of works, having set instrumentation for all compositions, and developing an independent and unique voice.

1 Eric Wetherell, Gordon Jacob: a centenary biography (London: Thames Publishing, 1995), p.37. 1

The Elements of Orchestration (1962) takes a historical approach, discussing how wind instruments are used throughout the development of music. This includes how wind instruments function in groups such as orchestras, and how to write effectively for these instruments. Attention is also paid to the development of instruments, with special focus paid to mechanics and intonation. The rest of the text deals with composing for instruments in groups, both in full (e.g., orchestra) and chamber (e.g., octet) settings. Orchestral Techniques (1930) takes the most detailed approach to understanding and writing for wind instruments. Details include the range, tendencies of individual notes, and each instrument‟s strengths and weaknesses. In addition, information provided includes which instruments work best when played in combination, as well as together and in opposition to each other. Lastly, compositional practice is discussed with special attention paid to the effects of doubling. Divertimento in E-Flat (1968) shows Jacob composed a work for harmoniemusik purely for his and the players‟ enjoyment. In addition, the time in which the work was written played no role in the composition. “Gordon Jacob composed this Divertimento in 1969 when he was seventy-four, yet it has a fresh and bright spirit suggesting it was written by a person fifty years younger.”2 The piece was composed for its own sake, and for the pure purpose of performing chamber music. Three Elizabethan Fancies (1979) makes use of a practice that Jacob frequently used when composing works for chamber winds. Each movement takes music and style from the past, in this case the Elizabethan period, and adapts it to be played by a wind octet. Jacob then uses his abilities as an orchestrator and arranger to elaborate and vary the thematic material used in Fancies. Since the tunes in each movement frequently return, Jacob must continually find new ways to present the returning thematic material. Serenade for Woodwind (1950) features a break from the previously used instrumentation of woodwind instruments and horns. The Serenade is scored for only woodwind instruments in pairs. Another difference involves the number of movements. The Serenade is eight movements long, a departure from the previous three movement format used in the Divertimento and Fancies. In addition, individual movements now become more depictive and descriptive. Such examples include the fourth movement, Interlude, which serves as an Incantation to raise the

2 Rodney Winther, An Annotated Guide to Wind Chamber Music (Miami: Warner Bros., 2004), p.140. 2

dead. This is a far departure from the previous movements, which feature titles of either a tempo (Allegro) or style (March). By providing a comprehensive overview of the music from a historical, theoretical, and pedagogical standpoint, it is hoped conductors and performers may be inspired to perform these works. Through such exploration, Jacob‟s works for chamber winds can be brought to the forefront and become welcomed additions to the repertoire. By giving these works more exposure, it is hoped that they can become part of the standard repertoire for chamber winds, increasing the repertoire of an often neglected genre.

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CHAPTER ONE: BIOGRAPHY

EARLY LIFE

Gordon Percival Septimus Jacob was born in Upper Norwood, south London, on 5 July 1895. Gordon was the youngest child in a large family, having three sisters and six brothers; his third name confirmed his status as the seventh son. The family, two of whom were composers, was a musical one with most members playing an instrument. Jacob considered his siblings more like aunts and uncles since they were considerably older. He was closest with the two that were most musically active, Archie and Anstey. “Archie wrote choral music and is the George Archibald Jacob, author of the book Musical Handwriting. He would bring home new scores such as Vaughan Williams‟ music to Aristophanes‟ The Wasps; the following year they plowed through the vocal score of the Sea Symphony, one playing right hand and the other the left. But it was to Anstey that the young Jacob most naturally turned. Anstey played the cornet well . . . .” 3 In addition, Gordon had another brother, Charles Theodore, who played flute, wrote songs, and composed a duet for cornet and piano for Gordon and Anstey to play.

Figure 1.1: Jacob as a boy.

3 Eric Wetherell, Gordon Jacob: a Centenary Biography (London: Thames Publishing, 1995), p.11. 4

Jacob‟s father, an official in the Indian Civil Service, died when Jacob was only three, leaving him with only vague memories of his father. “I imagine that I remember my father‟s last departure for India, but I am not sure. There is a scene in my head of what seems a very large man in the hall of the house making his farewells.”4 Jacob‟s father, however, was not devoid of any musical ability. He composed hymn tunes without musical training of any kind. Even though Jacob had both wide and varied musical experiences, music was not an option with regards to making a living or pursuing a career. “Both love of music and opposition to its being adopted as a profession were extraordinarily interwoven during his youth, the latter a reflection of his mother‟s Puritanical attitudes.”5 In addition, Jacob later remarked that his choice to pursue music as a profession was frowned upon by his family, all of whom enjoyed music as an avocation, but did not pursue it as a career.

Figure 1.2: Jacob‟s father and mother

4 Eric Wetherell, Gordon Jacob: a centenary biography (London: Thames Publishing, 1995), p.10. 5 Robert Samuel Pusey, “Gordon Jacob a Study of the Solo Works for Oboe and English Horn and their Ensemble Literature,” D.M.A. dissertation, Peabody Conservatory, 1979, p.1, as quoted in Alan Whiston, Gordon Jacob: a biographical sketch and analysis of four selected works for band (Ann Arbor, MI: University Microfilms, 1987), p.16. 5

Jacob‟s early musical experiences were both formal and informal. One such informal experience came from hearing the sounds of street music: There were barrel organs of different shapes, sizes and sounds, some with dancing dolls on top, some with monkeys in red caps sitting; but the best was the piano organ which had terrific runs and cascades of notes going against the tune, which would have sounded intolerably dull without them. There were also men pushing their wares in barrows and shouting. Lavender-sellers still sang their fascinating tune, traditional for centuries. I remember street singers too, and two men played clarinet and harp together very fluently and probably picked up a lot of money.6

Jacob‟s first formal musical experience came by taking piano lessons at the age of eight. These experiences led to his fervor for music and compelled him to compose, if only at a basic level. “Everything about the piano and music generally was a thrill. The look of the keyboard, the smell of the beeswax with which it was polished, the five lines with their notes and rests and clefs, all contributed to the thrill of it all. It was not long before I was trying to write down tunes and harmonies.”7 After only a few lessons, Jacob also began to compose songs. “Clearly, he felt that these early compositions were significant because he gave them opus numbers, although he soon abandoned this practice.”8 Jacob‟s early musical experiences continued with his enrollment in a nearby public school, Dulwich College, at the age of nine. Jacob was able to achieve a high level of success, some of which could be directly attributed to the director of the school, Herbert Doulton. Doulton took an interest in Jacob as both a person and a composer. In a letter to Jacob‟s mother dated 10 October, 1913, Doulton remarked: “Honors are crowding upon the boy this term! School perfect, house perfect. . . . Don‟t you think it would be a good idea if he took music? He is rather apt to get into careless habits, and with his natural ability it seems almost a pity not to make the best of it.”9 Doulton also let Jacob study his scores, as well as perform a Mozart piano concerto on a concert program, the second half of which included Jacob‟s overture to Red Riding Hood (1912). Doulton went a step further, organizing concerts of some of Jacob‟s works played by the school orchestra, with Jacob at times conducting. “This experience doubtless played a significant part in developing his very acute aural imagination and feeling for instrumental

6 Eric Wetherell, Gordon Jacob: a centenary biography (London: Thames Publishing, 1995), p.12. 7 Wetherell, p.12-13. 8 Geoff Ogram, Gordon Jacob (1895-1984), www.musicweb- international.com/classRev/2004/Feb04/Gordon_Jacob.htm 9 Wetherell, p.14. 6

sounds and combinations that characterized his later compositions.10 The first public performance of a composition by Jacob of any kind took place when a church organist, Victor Williams, gave a surprise performance of a work by Jacob during an evening service. Dulwich also afforded Jacob opportunities with regards to attending and listening to top- notch musical ensembles. “There was a good school orchestra and military band at Dulwich, music being cultivated to an unusual extent for those far-distant days, so my innate love of orchestras, bands and combinations of instruments in general received plenty of stimulus, and two of my first goes at orchestral writing were played before I left school in 1914 to join the army in World War I.”11 In addition, Jacob spent his evenings playing chamber music as a pianist. Jacob used these and other experiences to help develop his compositional abilities, “laying the foundations of the immense practicality for which he was to become so renowned.”12 While Jacob did achieve some initial musical and compositional success, he had to overcome some disabilities with regards to his own body: People think that I play all these things, but I don‟t play any of them. I don‟t play strings or wind – I can‟t, I am physically unable to. For one thing, that finger [the index finger of his left hand], which is very important in string playing; the tendon was cut when I was a small child, and that finger will not bend. You can‟t play a string like that. I can‟t blow a wind instrument because I have something wrong in my mouth. So I am absolutely shut- off from playing anything. All I could do was to learn how all the instruments are played.13

The first disability occurred while attending a public school camp on the Isle of Wright. “It was at one of these camps that I cut the main tendon of the little finger of my left hand while cleaning a knife by pushing it into the ground during play. It was stitched up but the tendon was irretrievably cut - anyway no attempt was made to join it together again. . . .”14 The second, a cleft palate obtained at birth, also caused speech problems. People around Jacob remarked that this ailment, causing Jacob to speak infrequently, gave others the impression he was shy or aloof.

10 Geoff Ogram, Gordon Jacob (1895-1984), www.musicweb- international.com/classRev/2004/Feb04/Gordon_Jacob.htm 11 Alan Whiston, Gordon Jacob: a biographical sketch and analysis of four selected works for band (Ann Arbor, MI: University Microfilms, 1987), p.17. 12 Eric Wetherell, Gordon Jacob: a centenary biography (London: Thames Publishing, 1995), p.15. 13 Lewis Foreman, “Gordon Jacob in Interview,” British Music Society 7 (1985), p.61. 14 Wetherell, p.16. 7

WORLD WAR ONE

Another setback, one that profoundly affected the composer both personally and professionally, deserves attention. On 26 August, 1914, at the age of nineteen, Jacob joined the Field Artillery. During his time in service, his musical skills became a way to release and unwind, as well as giving him a break from the day to day grind of service. “The Army ultimately discovering that he was a pianist, ordered him to play the harmonium at Sunday parade. . . .”15 This appointment helped Jacob to develop his skills as a musician, as well as having a break from the duties of service. Jacob eventually received another break to both recover and continue composing. “After two months he was transferred to the University and Public School Brigade of the Royal Fusiliers, finding himself at Epsom billeted with a private family. It was a relief to have more congenial companions, and he attended his first string quartet concert in Epsom Town Hall. He remembered that Dvorak‟s American Quartet was in the programme.”16 In addition, Jacob accompanied vocalists as well as getting a song By the Hearthstone () published, bringing monetary gains and name recognition. Jacob was able to continue his studies of music when he was transferred to another camp that had been a spa before the war. “He [Jacob] was able to form a very small but quite well balanced orchestra of two violins, two celli, flute, clarinet, cornet, and supporting piano. Dr. Jacob had to arrange all of the music that the group played and compose new pieces for smaller chamber combinations.”17 Jacob saw this as a unique opportunity to further his musical studies, as well as develop his ability to write for smaller combinations of instruments. Jacob remarked that his goals were to compose and arrange works “to suit, or so I hoped, its peculiar combination of instruments.”18

15 Eric Wetherell, Gordon Jacob: a centenary biography (London: Thames Publishing, 1995), p.18. 16 Wetherell, p.18. 17 Walter Lee, Analysis of Selected Compositions by Gordon Jacob for Solo Oboe (Ann Arbor, MI: University Microfilms, 1987), p.55. 18 Geoff Ogram, Gordon Jacob (1895-1984), www.musicweb- international.com/classRev/2004/Feb04/Gordon_Jacob.htm 8

Figure 1.3: Prison Camp Ensemble at Bad Colberg, Germany, 1918

STUDENT YEARS

After all of the horrors and tragedies of war Jacob was released from duty, finally able to pursue his secondary education. Before focusing on music, Jacob spent a year studying journalism. This does not mean, however, that his love of music diminished. “When I was at the school of journalism, I‟m afraid I did more than journalism. I worked very hard at counterpoint and fugue. Of course, I knew that anyone who had written music of any value had done that. So, I took correspondence lessons from a chap down in Bristol, and I got my ARCM in Theory before I went to college at all, simply sweating away at common counterpoint.”19 These basic studies in music theory helped prepare Jacob for his secondary schooling which occurred soon after receiving his certificate. Jacob began his formal musical training in 1918 after entering the Royal College of Music (RCM). The circumstances surrounding his acceptance had to do with a suggestion from a family member, and reuniting with a previous contact. “A distant relative told him [Jacob] that an acquaintance had been awarded a scholarship to study at one of the colleges of music. Hugh Allen, whom he had known at Oxford, had left New College in 1918 to become Director of the

19 Alan Whiston, Gordon Jacob: a biographical sketch and analysis of four selected works for band (Ann Arbor, MI: University Microfilms, 1987), p.18. 9

RCM.”20 Fortunately for Jacob, the director was able to see his potential talent. In addition, Jacob was helped by a service that was provided as part of his war duties. Jacob “heard they [the government] were giving grants to ex-serviceman to study wherever they liked. I applied for one at the college [Royal College of Music] and they took me. I was very pleased and was then able to do what I always had wanted.”21 Jacob studied with many different composition teachers while at the RCM. The following serves as only a summary of the primary professors responsible for his development as a composer. While at the RCM he studied composition with Charles Stanford, Herbert Howells, and Ralph Vaughan Williams. “My principal professor was Sir Charles Stanford and from him I gained two invaluable things, first a thoroughly professional attitude towards the art and craft of composition and second, economy of notes. Stanford had no use for the contemporary music of his time. . . .”22 While Stanford‟s preferences seemed biased, his critiques were helpful, although at times harsh. Jacob, however, remarked later on that even though Stanford was strict, this direction was what he needed in order to develop his craft as a composer. Some of the composers that Stanford considered forbidden included Debussy, Strauss, and Stravinsky. The fact that Stravinsky was in his teacher‟s eyes unmentionable did not stop Jacob from going to see Diaghilev‟s Ballet Russe in 1920 and 1921. “There were two seasons of it in London at that time so I heard an enormous amount of Russian music and that really had a marked influence on me during my student days, more so than English music and it still does.”23 This began Jacob‟s fascination with Russian music, and the composers who created it. “I was very much influenced by the early Russian people like Rimsky-Korsakoff, Mussorgsky and Borodin. That tremendous vitality of Russian composers was almost like a revelation of something quite new, and that made a tremendous impression on me and their use of instruments, and the sound that they got out of them. . . .”24 One work by Stravinsky in particular had a profound effect on the composer, challenging his original, more conservative, train of thought. “In the early „20s this work (Le Sacre du Printemps) seemed to overshadow the art of composition altogether. Its immense originality,

20 Eric Wetherell, Gordon Jacob: a centenary biography (London: Thames Publishing, 1995), p.24. 21 Alan Whiston, Gordon Jacob: a biographical sketch and analysis of four selected works for band (Ann Arbor, MI: University Microfilms, 1987), p.18. 22 Gordon Jacob, Personal View No.5, Royal College of Music Magazine 61 (1965), p.71-72. 23 Timothy Reynish, Gordon Jacob in Conversation, http://timreynish.com/repcompjacob.html 24 Walter Fulford Lee, Analysis of Selected Compositions for Solo Oboe (Ann Arbor, MI: University Microfilms, 1987), p.64. 10

force and primitive energy seemed for a short time to take the wind out of composers‟ sails.”25 In addition, Jacob also heard small scale instrumental works, such as L’Histoire du Soldat (1920), which left him with a new-found direction in his compositions. While Jacob‟s attention now turned to writing music for wind instruments, his program of study did not help him achieve this goal. “In my [Jacob‟s] student days instrumentation was not taught as a separate study but was casually treated as part of one‟s general training as a composer. How different an attitude from today‟s emphasis on instrumental color as an integral part of the music, not just its outer dress.”26 From Herbert Howells, Jacob found a renewed sense of accomplishment and desire to compose. “I got a lot from him [Howells]. He not only set me thought-provoking exercises but also played or showed me works he was writing at the time. This was stimulating to my own efforts at composition.”27 While the least amount of information is found about Jacob‟s opinion of Howells, this did not take away his admiration for him, commenting that he learned more from Howells than he did from Stanford or Vaughan Williams. From Vaughan Williams, the purpose of study was a new direction. “In my third year I thought I would change to a more up-to-date teacher, and went to Vaughan Williams. He was then going through a revulsion against technique in favor of untrammeled imagination. He was also too slow to take in a score at first sight and the lesson was almost over before he had thought of anything to say.” 28 Jacob also studied with Gustav Holst, whose work Jacob considered an extension of the British musical tradition. “One has to admit that they were both influential in my former years. Of course I knew them both well, but I particularly admired Holst. Later I taught instrumentation to Holst‟s daughter, Imogen, at the College.”29 All of this study lead up to Jacob‟s initial success as a composer, with a work that is still considered one of his best, the William Byrd Suite, originally written for orchestra and later arranged for band. The work was composed in 1923 for the third centenary of William Byrd‟s death in 1623. The piece was considered a success, and brought Jacob instant attention as a serious composer with refined skill. William Byrd Suite caused listeners and Jacob to take a look at music from the past, and find new ways to present this music to the public:

25 Eric Wetherell, Gordon Jacob: a centenary biography (London: Thames Publishing, 1995), p.33. 26 Gordon Jacob, Personal View No.5, Royal College of Music Magazine 61 (1965), p.73. 27 Wetherell, p.26. 28 Ibid. 29 Timothy Reynish, Gordon Jacob in Conversation, http://timreynish.com/repcompjacob.html 11

The word “musicology” had not entered the English language, and the idea that such music could be performed only in its original form and on original instruments would have raised an indulgent smile. Edmund Fellows had published the results of his far- reaching research into the music of the Elizabethans during the war and early „twenties, and musicians such as Jacob were fascinated by it. In his view this was an opportunity to make the public aware of a body of little-known treasures, and he set about his task with eagerness.30

The arrangement for band also helped when the opportunity of performing the work again arose. At a performance of military bands in 1924, William Byrd, along with the Toccata Marziale (1924) by Vaughan Williams, were performed by the wind ensembles. Having heard Jacobs‟s ability to arrange from orchestra to wind band, Vaughan Williams recruited his former pupil to do some orchestration for him. Vaughan Williams acknowledged that Jacob “was at one time nominally my pupil, though there was nothing I could teach him, at all events in the matter of technique. . . .”31 Since Jacob was devoting most of his time to writing for wind ensembles, such as brass and wind bands, this direction allowed him to develop his craft of writing for instrumental ensembles. In addition, the concept of a military band in England, with regards to instrumentation, was undergoing changes. “In this country [England], the military bands are now more like symphonic bands. They‟ve got loads of extras like alto Eb clarinet and four saxes instead of only two, and the concert band is taking on in this country.”32 In addition, since Jacob had to pay his own way during the third year of his RCM studies, (the previously mentioned scholarship paid for two), Jacob turned to the role of copyist. “It meant a long day‟s work to earn a few shillings, but it was a means of examining, intimately, scores of many different types and styles and was thus not absolutely without interest and instruction.”33

TEACHING

Jacob began his teaching career in 1924 at the RCM, and continued until his retirement in 1966. Jacob actually began teaching in the Christmas term, confirmed by records in the RCM.

30 Eric Wetherell, Gordon Jacob: a centenary biography (London: Thames Publishing, 1995), p.27. 31 Wetherell, p.28. 32 Alan Whiston, Gordon Jacob: a biographical sketch and analysis of four selected works for band (Ann Arbor, MI: University Microfilms, 1987), p.224. 33 Wetherell, p.29. 12

“Well, they took me on at the college, the Royal College, as soon as I left, so I never ceased to be there from the time I went as a student to the time I retired. But of course it was only very little work there to begin with, I only worked half a day a week. . . .”34 With many years teaching at the same institution, Jacob developed quite a reputation as a teacher and had an effect on a large number of students. “Many who passed through his hands as students later became famous as instrumentalists, conductors or composers, names like Sir Malcolm Arnold, William Waterhouse, Eric Wetherell, and Jospeh Horovitz amongst many others.”35 Jacob used a simple yet practical approach when it came to assessing and critiquing his students‟ compositions. One of his former students Bernard Stevens remarked on this technique. “As a composer, one learned as much about orchestration from his direct and professional method of rehearsal and criticism of one‟s own conducting as from individual lessons. Also, the works that he encouraged us to study for orchestration and which he chose for the Second Orchestra, familiarized us with many styles, particularly French and Russian, which at that time were considered rather inferior to the German Romantic.”36 Jacob‟s real life experiences with listening to music from other countries in other styles, as well as a passion for orchestration, were passed directly on to his students. A high level of craftsmanship was something that Jacob saw lacking in his students and other composers. “They are inclined to follow the rather pernicious doctrine that technique doesn‟t matter, it‟s originality and novelty that matter. But I believe that craftsmanship, particularly understanding of instruments, is especially important.”37 Jacob also spoke of writing music for a select group of instruments, as well as taking into consideration many different elements of music, such as length and style. These thoughts were put into practice with concerts containing his music, most notably in 1934, which placed the focus on the oboe. One such concert took place on 26 February 1934, and featured Jacob‟s Concerto No.1 for Oboe and Strings (1933). The piece was written for and dedicated to Evelyn Rothwell, who commented on Jacob‟s interest in wind instruments. “One of

34 Alan Whiston, Gordon Jacob: a biographical sketch and analysis of four selected works for band (Ann Arbor, MI: University Microfilms, 1987), p.222. 35 Geoff Ogram, Gordon Jacob (1895-1984), www.musicweb- international.com/classRev/2004/Feb04/Gordon_Jacob.htm 36 Bernard Stevens, “Gordon Jacob at Eighty,” The Royal College of Music Magazine 71 (1975): p.64. 37 Timothy Reynish, Gordon Jacob in Conversation, http://timreynish.com/repcompjacob.html 13

the things I most admired about him [Jacob] was his eagerness to learn about instruments and their likes and dislikes [sic].”38 Once prominent British wind players saw that that Jacob was capable of composing works for their particular instrument, they saw a unique opportunity to increase the limited repertoire for their respective instruments. “In fact, many of his works were written at the request of friends and such celebrated performer as: Dennis Brain (French Horn), Leon Goossens (oboist), Frederick Thurston (clarinetist), Evelyn Rothwell (oboist), William Waterhouse (bassoonist), and others of equal reputation. Dr. Jacob has thus been certain of superb first performances and assured first-rate presentations of his compositions.”39 Praise came from composers who attended concerts that included works by Jacob. John Ireland wrote to him about a concert that included the first performance of his Quintet for Clarinet and Strings (1940). “It is very personal and original although you don‟t employ any extreme experiments. The clarinet seemed beautifully played, and as if he really enjoyed the fine part that you had written for him. Besides charm, the work has humor, pathos and a hint of mysterious tragedy, all expressed in a subtle way.”40 During this time Jacob composed another concerto for a wind instrument. Archie Camden, bassoon professor at the RCM and a life-long friend of Jacob, asked him to write a concerto. “As always, he consulted with the soloist, sometimes changing his original ideas if it became necessary. Archie Camden was most stimulating to work for and I got to know him and his family well. I cannot help remembering that Archie asked me to write it [the concerto] one day when we happened to meet in the gents at the RCM. How romantic is the composer‟s life!”41 Jacob composed several other works for and including bassoon, including a Suite for bassoon and string quartet (1968), and a Duo for clarinet and bassoon (1975).

HAMPSHIRE

In 1951, Jacob was called upon to write music for a special ceremony, The Festival of Britain. Of the three works composed, the large scale instrumental work was Music for a Festival

38 Eric Wetherell, Gordon Jacob: a centenary biography. (London: Thames Publishing, 1995), p.36. 39 Walter Fulford Lee, Analysis of Selected Compositions for Solo Oboe (Ann Arbor, MI: University Microfilms, 1987), p.56. 40 Wetherell, p.52-53. 41 Wetherell, p.55-56. 14

(1951). For the festival, the Arts Council had very specific ideas about what they wanted. “The initial idea being that it should be played on a barge moored on the Thames à la Handel‟s Water Music. The idea I adopted was to write a suite of pieces alternatively for the band with the Fanfare group, thus allowing the music to proceed with only infinitesimal gaps between the movements.”42 The eleven movements, consisting of thirty five minutes of music, were written with special considerations. “This had practical implications in that each group could rest while the other group played, so the whole work could be more comfortable to play.”43 Another of the commissioned works, The Horn Concerto (1951), written for the famous French horn player Dennis Brain, was followed by another concerto, this time for flute. Much in the same fashion as the Horn Concerto, the Flute Concerto (1951) was masterfully crafted, well received, and thought of highly by performers. “The Times described it as ingratiating music which can be enjoyed at first hearing and which yet has countless small subtleties of craftsmanship to repay frequent hearings. Many years later he [Jacob] received a letter from a Swedish flutist: Mr. Jacob, are you a flute player too? Anyhow, it seems for me as it has been composed by a composer who knows the instrument very well.”44 Praise for his works also came from noted conductors, specifically those involved in music for wind instruments. In February 1952, a letter arrived from Frederick Fennell, who taught at the Eastman School of Music in New York, and had conducted the William Byrd Suite with his wind ensemble. Fennell remarked: “Please consider more composition for the military band, for we are in desperate need of music of the quality and of the quantity of yours.”45 In addition, in 1953, “performances of his wind band music, the William Byrd Suite and Music for a Festival, had become increasingly numerous in the USA, where the wind-band movement in schools and colleges was well underway.”46 Repeat performances reaffirm Jacob‟s skill and ability to compose quality music for wind instruments. In 1955, Jacob had reached the age of sixty, having survived two wars and the death of beloved family members. A birthday party was held by John Addison and Malcolm Arnold on 16 December, with a large number of Jacob‟s students from the RCM in attendance. His lifelong

42 Eric Wetherell, Gordon Jacob: a Centenary Biography (London: Thames Publishing, 1995), p.59. 43 Geoff Ogram, Gordon Jacob (1895-1984), www.musicweb- international.com/classRev/2004/Feb04/Gordon_Jacob.htm 44 Wetherell, p.60. 45 Wetherell, p.61. 46 Wetherell, p.63. 15

commitment to composition was rewarded with a concert of his own music. “Apart from private celebrations there seems to have been only a concert of his chamber music on the Third Programme to mark this significant date.”47 After this moment of recognition, the demand for solo works continued to pour in, with some of these being traditional classical instruments, such as trombone and cello, as well as uncommon instruments, such as harmonica. The harmonica concerto posed several challenges, perhaps most notable being the accompaniment. “When asked how he set about scoring for unusual instruments or groups that presented new problems of balance, his answer was typically straightforward: if you have an instinct for writing for instruments . . . it doesn‟t matter what combination you write for.”48 This concept was taken to a new level as his Variations on Annie Laurie (1956) was set for an ensemble that included hecklephone, serpent, harmonium, and hurdy-gurdy (Figure 1.4).

Figure 1.4: Performers at one of the celebrated Gerald Hoffnung concerts of musical humor

Jacob also composed his Sextet for wind quintet and piano in 1956:

In the first part of the twentieth century, Aubrey Brain (1893-1955) and his son Dennis (1921-1957) were recognized as two [of the] greatest players of French horn of the time. According to Jacob, Dennis Brain was quite modest about his playing, for whenever anyone would compliment him, he would say, „You should have heard father play it.‟ It was because of his love and admiration for his father that Dennis commissioned Jacob to write the Sextet in his father‟s memory. Ironically, although written for Aubrey Brain, the Sextet was the last piece of music Dennis played before his own death. In fact, the

47 Eric Wetherell, Gordon Jacob: a Centenary Biography (London: Thames Publishing, 1995), p.65. 48 Wetherell, p.66-67. 16

broadcast of that final performance was aired on September 5, 1957, just four days after Dennis‟ fatal automobile accident. Dennis Brain became a more renowned hornist than his father: upon hearing of Dennis‟ untimely death, Jacob changed the dedication to include both father and son, and the eulogy Dennis had intended for his father also became his own.49

Jacob took the dedication of the Sextet to another level using his extensive knowledge of music theory. “The musical notes, A, B, E, B, A, taken from the name Aubrey Brain, are used as a thematic basis for all the movements excerpt the Cortege, which, however, is in B flat minor and is therefore centered round the note B flat (B in continental nomenclature), thus bringing into prominence the initial B.” 50 Numerous recording have been made of this work, and has become one of Jacob‟s most well known compositions for winds. Jacob took the concept of composing a piece in a certain format or occasion to another level with his work for orchestra, Little Symphony (1957). The conductor requested a work in a contemporary idiom but using an eighteenth-century orchestra, complete with a group of wind instruments consisting of flute, two oboes, two bassoons, two horns and strings. The Times reported on the concert: “As usual, Dr. Jacob has met the challenge brilliantly, writing just the same clear, concise and unselfconscious and totally extrovert [sic] sort of music that a first-rate eighteenth-century craftsman might have produced while yet achieving a totally twentieth- century harmonic textural piquancy.”51 Changes in the economy as well as the rise of the avant-garde movement meant that Jacob‟s reputation and place in music could and did diminish. “Whilst this itself was laudable, the policy was pursued to the detriment of the more traditional composers like Jacob, Bax, Bliss, Rawsthorne and others, who found their music becoming more and more neglected. The malaise spread also to the concert hall.”52 Advancements in technology also played a large role in the decline of Jacob‟s and other composers music. “The development of radio, TV and the gramophone had closed many places of entertainment which had once given employment to performers and fees to composers.”53 The last factor that changed Jacob‟s situation financially was the way music was literally being sold to the audience. “As performance fees rather than

49 Robert Pusey, “Oboe and English Horn Works of Gordon Jacob,” The Double Reed 4.3 http://www.idrs.org/publications/DR/DR4.3/jacob.html 50 Gordon Jacob, Sextet (Wiesbaden, Breitkoph and Härtel, 2000). 51 Eric Wetherell, Gordon Jacob: a centenary biography (London: Thames Publishing, 1995), p.67. 52 Geoff Ogram, Gordon Jacob (1895-1984), www.musicweb- international.com/classRev/2004/Feb04/Gordon_Jacob.htm 53 Wetherell, p.76. 17

sheet-music sales were now the principal source of income for composers, the outlook for some was serious. The BBC was now the chief purveyor of music to the nation, the provincial orchestras and recording companies followed suit.” 54 All of this misfortune, which other composers of his time were not lucky enough to overcome, did not in any way prevent a celebration of the composer‟s life and dedication to his craft. For his seventieth birthday, a series of concerts were held honoring his contributions to music (Figure 1.5). One of these concerts, held at the Royal College of Music, featured Jacob‟s works for chamber winds. These include the Trio for flute, oboe and harpsichord (1958), Sextet for winds and piano (1956), and Six Miniatures for flute, oboe, harp, and harpsichord (1965).

Figure 1.5: Jacob‟s seveninth birthday concert

54 Eric Wetherell, Gordon Jacob: a Centenary Biography (London: Thames Publishing, 1995), p.78. 18

Philip Cannon, a participant in the festivities, commented on what Jacob had done for the musical scene in England and beyond: His shrewd musical judgment has always gone straight to the heart of the problem, analyzing it without prejudice to see whether music works, or is indeed as effective as it might be. New techniques and theories are all scrutinized by him with the same cool appraisal. Developing out of the mainstream of English music but with clarity of line that made his music so distinctive, shunning the temptation of the adoption of fashionable do- it-yourself composing kits, he has continued to write vital and attractive works that are always in demand by the musical public. In an intellectually gimmick-ridden age craftsmanship like Gordon‟s is not fashionable, but it arouses a heartening response in the public simply because it produces telling and effective music.55

Jacob did not allow all of the celebration and praise to change his view of himself or others. In fact, Jacob used the inspiration he received to help expand the solo repertoire for wind instruments, specifically woodwinds. It was in the realm of chamber music that he found himself able to write for his growing circle of friends: the Oboe Sonata (1969) for Evelyn Rothwell, Seven Bagatelles for solo oboe (1969) for Sarah Francis, Variations on a Dorian Theme for alto saxophone and piano (1972) for Stephen Trier, and Five Pieces for solo clarinet (1972) for Georgina Dobree. A commission from the Cheltenham Festival in 1969 led to the Suite for Bassoon and String Quartet played by the Hurwitz Quartet and his former pupil, William Waterhouse, for whom he later wrote a Partita for solo bassoon (1970).56

By this point, Jacob had produced a large body of quality works, with the previously mentioned wind music being in greatest demand. Therefore, Jacob needed a way to distribute his music to the general public, which he found in his long time business partner. “At about the same time, in 1972, he began a long and fruitful business and personal association with the wind- music publisher Emerson. They too not only took over publication of his wind music but became firm friends in his later years. The market was tailored to the new requirements of schools and their catalog was well known in the USA; they were in an ideal position to promote his present output.”57 While the majority of Jacob‟s music is still available from Emerson, other publishers and distributors, such as Boosey and Hawkes, have purchased rights to Jacob‟s works, making them available for rental or purchase.

55 Philip Cannon, “Gordon Jacob: 70th Birthday Tribute,” Composer 17 (1965), p.32. 56 Eric Wetherell, Gordon Jacob: a centenary biography (London: Thames Publishing, 1995), p.86. 57 Wetherell, p.86-87. 19

LAST YEARS

A concert to celebrate Jacob‟s eightieth birthday was planned, with the focus placed squarely on his works for chamber ensembles. Once again Bernard Stevens commented on Jacob‟s continued musical efforts. “Gordon Jacob has been a significant force in British music for a quarter of a century, as composer, teacher and orchestrator. The impeccable craftsmanship of his work has been stressed too often at the expense of its imaginative content.”58 It is interesting to note that the concert commemorating Jacob‟s musical accomplishments featured his works for instrumental chamber ensembles. The program (in concert order) consisted of the Divertimento for wind octet (1968), Air and Dance (1957) for viola and piano, Sonatina for oboe and harpsichord (1962), Suite for four trombones (1968), Introduction and Fugue for piccolo, flute, and bass flute (1947), and Quartet for piano and strings (1969).59 The concert was held on 7 July 1975 at the RCM. His work as an examiner and board member finally ceased, allowing Jacob to spend more time traveling and working with university ensembles that were eager to play his music. “I [Jacob] was invited by the State University of Florida to go out for the 1st performance of a new work [the Concertino for trombone and wind band] . . . and on May 16th we fly to Miami . . . then on to Tallahassee for lectures in composition . . . .”60 While in Tallahassee Jacob attended a concert of his music for wind band, and was given the title of guest clinician. During this time Jacob was still able to provide his friends and acquaintances with quality works. Music in more traditional forms is represented by Viola Sonata No.2 (1978), Wind Quintet No.2 (1980), Mini Concerto for clarinet and strings (1980), and for orchestra (1984), and the Flute Concerto No.2 (1981). Jacob also wrote a brief 60-second piece called Birthday Card for Leon Goosens for Goosens 80th birthday in 1977. “He [Goosens] was extremely pleased with it and plays it whenever he gets the chance. Jacob wrote to Emerson . . . I think it might be a success if published, as anyone could play it and it is so short and simple.”61 While he always enjoyed working and composing for others, the demand put on him at the latter stages of his life was almost too much to bear:

58 Bernard Stevens, “Gordon Jacob at Eighty,” Royal College of Music Magazine 71 (1975): p.63. 59 Stevens, p.62. 60 Eric Wetherell, Gordon Jacob: a Centenary Biography (London: Thames Publishing, 1995), p.91. 61 Wetherell, p.94. 20

Nobody seems to realize that I shall be 84 in July, and they expect the fountain to flow continuously, which is very nice of course, tho‟ I wish the years would recede instead of piling up! I‟ve suffered from good health all my life, thank goodness. While on that sort of subject, though I‟m not conceited enough to think that my life was purposely spared in that war, I‟ve always felt that I‟ve had to try to justify the fact that it was, by doing my creative work as well as my limited talents permit. That has always been at the back of my mind. God has given me talent but not genius, so I have to make do with that.62

Unfortunately, towards the end of his life, Jacob was stricken with some physical ailments that made composing difficult. “He was troubled in later years with failing eyesight, and his writing hand had become shakier as he struggled to set down ideas, but he remained cheerful and optimistic. He pointed to a few notes on high ledger lines and explained that when he could not see clearly enough to confirm the accuracy of the notes on them he would write “C” or “E flat” (or whatever) against them, in red pen!”63 He did recognize that his eyesight was a problem, and took the necessary steps to try to improve his sight. This involved an operation for glaucoma, which allowed him to keep working for some time and without a stoppage. This visual disability was something Jacob tried to conceal from his wife. Once Margret discovered this problem, she found ways to help Jacob cope. “His sight became increasingly bad and therefore he ventured out less and less, but he kept on writing with the aid of additional very powerful lights. Also during the last two years of writing he had manuscript paper especially printed with a wide mesh. This was a great boon to him.”64 (Figure 1.6)

62 Eric Wetherell, Gordon Jacob: a Centenary Biography (London: Thames Publishing, 1995), p.100. 63 Geoff Ogram, Gordon Jacob (1895-1984), www.musicweb- international.com/classRev/2004/Feb04/Gordon_Jacob.htm 64 Alan Whiston, Gordon Jacob: a biographical sketch and analysis of four selected works for band (Ann Arbor, MI: University Microfilms, 1987), p.250. 21

Figure 1.6: Jacob with wide manuscript paper and bright lights

Even at this point in his life, Jacob was not content to stand still, and continued to compose works that fulfilled needs. “Always willing to try out something new, it is hardly surprising that he chose to write, even at the age of eighty-eight, a Concerto for Timpani . . . but he did not live to hear it. His last work was a Mini Concerto for Orchestra written for a Youth Orchestra Festival, which took place at the Royal Festival Hall in July 1984.”65 Jacob died on 8 June 1984, just a month short of his eighty-ninth birthday. “That Gordon Jacob was able to continue his work for almost thirty years after the occasion of his sixtieth birthday tribute, can in no small way be attributed to the loving support of his friends, children, and his devoted wife Margret. His long and active life should be regarded as a blessing for all who knew Gordon Jacob and who love his music. He will be missed.”66 Jacob was a composer of great innovation, substance, and passion.

65 Geoff Ogram, Gordon Jacob (1895-1984), www.musicweb- international.com/classRev/2004/Feb04/Gordon_Jacob.htm 66 Alan Whiston, Gordon Jacob: a biographical sketch and analysis of four selected works for band (Ann Arbor, MI: University Microfilms, 1987), p.31. 22

CHAPTER 2: SURVEY OF LITERATURE

THE COMPOSER AND HIS ART

Each one of Gordon Jacob‟s books offers insight into how he composed for wind instruments. The first book, The Composer and his Art, explains Jacob‟s approach to composing as a whole. This includes musical elements such as form and structure. The second, The Elements of Orchestration, deals with the use of wind instruments over the history of music. This includes the roles of instruments in and out of the orchestra. Lastly, Orchestral Technique deals with individual instruments, focusing on their strengths and weaknesses in both a solo and chamber setting. Chapter 1 (Teaching Music Composition) Jacob speaks to the craft of composition, and the need of the composer to understand music from the performers‟ standpoint. “It (composition) deals with the manipulation of instruments or the management of the voice and is therefore mainly concerned with mechanical and physiological facts.”67 While the composer uses an inventive, creation oriented process, the performers use an interpretative, realization process. However, in order for the performers to realize the intentions of the composer, the music must be accessible and utilize the instruments to the best of the players‟ ability. Regardless of the starting point, individual style, or other influences, Jacob insisted on one area of study that he thought was invaluable to each and every student. “The theoretical study of instruments and their individual characteristics is of course another important branch of training, and no exercise should be written without envisaging some definite instrumental or vocal medium.”68 In addition, Jacob believed that if a composer got into a habit of simply writing for one type of instrument, such as piano, he or she was limiting the opportunity for expansion. Hearing a piece of music for the instrument or instruments it was designed for is an important way for a composer to develop his or her musical knowledge. Chapter 2 (Melody, Melody, Texture)

67 Gordon Jacob, The Composer and His Art (London: Oxford University, 1955), p.1. 68 Composer, 4. 23

There was one element of music that Jacob valued above all others. “It can safely be said that the only music which remains in the repertoire because of its undying attraction for musical listeners does so, first and foremost, through its melodic appeal. Melody was originally vocal in its origin and average ears are still bewildered by tunes which cannot be hummed or whistled.”69 Jacob takes the concept one step further by relating and translating the concept of melody over to instrumental music. “The cultivation of instrumental music has led to new conceptions of melody, in which vocal intervals no longer need necessarily predominate and in which the nature and individual characteristics of instruments play a very big part.”70 In addition, the colors and timbres of instruments themselves can serve as a source of inspiration. The next area deals with problems facing a composer when using fundamental elements of music. One of the main problems Jacob identified was that composers‟ music could become too complex and dense, causing the listener to lose a feeling of clarity. “The aim of the composer should be to make his music as clear and limpid as possible. Some composers cannot leave their music alone and are forever adding counterpoints until the texture of the music begins to suffer. . . .”71 Jacob saw a way to help composers prevent this problem while also helping to contribute to the body of chamber music. “Composers who find themselves too prone to overload their texture would be well advised to turn their attention to small combinations such as string or wind trios.”72 In addition, this trio-style writing could be used in a large scale work to add variety and provide relief to a possibly taxed listener. Chapter 3 (Structure and Development) Jacob uses this chapter to discuss what he believes are some of the most common errors that composers make, and should try to avoid. The first issue addressed deals with the overall length of a composition. “Composers do not always know when to stop. It is better to leave an audience wishing for more than to bore them with too long a discourse. In music, as in speeches and sermons, it is a good thing to stop when you have said your say.”73 The same can be said for the ebb and flow of the music, as starts and stops can have a dramatic effect on the both the performer and the listener.

69 Composer, 9-10. 70 Composer, 10. 71 Composer, 14. 72 Composer, 15. 73 Composer, 22. 24

Another important factor is the rate or speed at which the music moves. This refers not to the tempo of a work, but rather the amount and length of a section or the entire work. “Composers are sometimes afraid of staying on their mountain top and immediately start running down the other side. It is intimately bound up with the ability never to lose grip of the speed at which the music will move in performance.”74 In addition, by hearing his or her own works, as well as the works of others, the composer can better judge length and motion of the music. Chapter 4 (Instrumentation) The chapter begins by mentioning that only a few composers write for only one medium or genre. There are numerous reasons that composers choose to write works for solo or ensemble, but in all cases, the first step begins with listening and investigating. “He will very likely find it stimulating to read scores of works written for that medium. He will exclude from his mind all sounds but those producible by that medium.”75 While it is impossible to know each and every ensemble, a composer can develop ways to better understand each instrument. This includes each instruments strengths and weaknesses. “It is possible, by close study and diligent observation, both aural and ocular, to get the feel of instruments out of which he has never even attempted to coax a note.”76 Numerous texts, such as Berlioz‟s Treatise on Instrumentation, also offer valuable insight into how instruments function by themselves and with each other. The focus now turns to the area for which Jacob has become most well known: composing for solo wind instruments. Jacob‟s knowledge not only involved information about the instruments themselves, but also how each and every note would be heard. “Every separate note on every instrument and voice has its own subtle colour and shades of colour. They all differ slightly in the number and proportion of over-tones.”77 Jacob also understood differences between the same types of instruments, such as the bassoon. For example, in his day it was thought that the German bassoon produces a sound with a fuller tone and greater volume, while the French bassoon produces a lighter sound with less volume. Even though Jacob amassed a large amount of information about wind instruments, he still understood the challenges and duties required for a person to become a composer. “He should, however, be aware all the time that such things exist and should aquaint himself as well

74 Composer, 23. 75 Composer, 24. 76 Composer, 25. 77 Composer, 29. 25

as he can with the relative power and approximate average tone-colour of all instruments at all degrees of pitch. He will thus acquire, like a painter, a range of values which he can keep adding throughout this life.”78 There are, however, reasons that composers choose not to compose for wind instruments. These include either the instrument not being available, or that the composer has reached a level of competency that he or she feels no need to investigate further. The last section speaks to the imbalance with regards to the overall number of compositions. One area of concern involves works that have been composed by previous composers, and more specifically, who they were written for. “The great masters of the past almost all wrote music for their pupils (Mozart) or their children (Bach) without loss of their identity or lowering of their artistic standards. There seems to be very little present-day music between ambitious sonatas designed for virtuosi and teaching pieces which are too often devoid of interest and written in too conservative a style.”79 Jacob also believed that the lack of these types of works was a result of composers not wanting to lower their standards of composition. However, these types of works are valued, especially in schools, and can provide literature for instruments in a variety of combinations and situations. Chapter 5 (Chamber Music/Strings) While this chapter does deal with chamber music, specifically for string instruments, a point is made to first explain what chamber music is, along with how it was conceived and performed. “Chamber music originally had for its main object the enjoyment of those who took part in it. It was not conceived for the purpose of being played to an audience sitting in formal rows. . . .”80 In addition, Jacob comments on the fact that a listener or audience member should not think of chamber music as being any less important or unable to match other groups with regards to providing a meaningful musical experience. “If we prefer to listen to a combination of instruments as a small orchestra or chamber orchestra it is nobody‟s business but our own and need not have any influence on our enjoyment of the music.”81 The next section begins explaining the concepts of writing chamber music for strings in different combinations, starting with a trio. It is interesting to note that the concepts discussed here can be used for composing music for winds, not just strings.

78 Composer, 30. 79 Composer, 32-3. 80 Composer, 36. 81 Composer, 41. 26

Contrapuntal work comes off splendidly on the trio, the ear being able to follow clearly the three individual lines without danger of their coalescing into a harmonic texture. The three instruments can also be used in fairly close position high up in there compass with a very telling emotional effect, whilst wide spacing of all kinds, equidistant or with two close together and the other far above or below can produce mysterious sounds in pianissimo, thought in the forte it may lead to some disintegration of the texture.82

In addition, Jacob realized what could happen when the foundation of the ensemble was taken away, or used incorrectly. This use of fundamental notes (lowest), regardless of the instrument playing the part, is vital to the sonority and stability of the ensemble. “It is this relatively weak and thin tone of the bass when left high and dry, and the fear of letting the bottom drop out of the music if it is entrusted alone with the bass line, that are the frightening things about it.”83 There are opportunities for the instrument to be used in an important and independent role. Noted examples, such as Beethoven‟s Septet and Schubert‟s Trout Quintet, both showing how in the hands of a talented composer the bass part can be maximized. Chapter 6 (Chamber Music/Piano, Woodwind, Brass, or Percussion) Before covering instruments in different combinations, Jacob remarks on the challenge of pairing a piano with any given instrument. It is interesting to note that the role of the piano and how it is written for has a dramatic effect on the rest of the ensemble. “The composer needs care in handling of the piano and there is a good deal to be said for devising different material for the two instruments, which are utterly diverse in character and never really combine.”84 In addition, Jacob spoke of the performer‟s role in executing the piano part, viewing the knowledge of the instrument from the standpoint of a player and composer. “The truth is that the piano is an extremely difficult instrument to write for and only a good player can write really effectively for it. . . .”85 Jacob now turns his attention to writing for a solo wind instrument accompanied by strings. Even with the addition of string instruments, Jacob still adheres to his detailed writing for wind instruments, covering possible problems and pitfalls. “It is necessary that ample breathing spaces are allowed to the wind player, most especially in the case of the oboe, whose trouble is not running short of breath but being unable to expel it quickly enough for comfort in

82 Composer, 34-35. 83 Composer, 40. 84 Composer, 42. 85 Composer, 32. 27

long passages.”86 In addition, the acoustical properties of each wind instrument must be considered to help avoid potential problems. “It should be remembered that the lowest notes of the flute, though they seem powerful when heard alone, are easily covered up by other instruments, also that quick tonguing is more effective and easier of execution in the medium and upper registers than in the lowest. . . .”87 The discussion on wind instruments continues, with specific attention paid to their strengths and weaknesses. The topics covered are wide ranging, consisting of everything from an instruments‟ technical skill, to the choice of keys. “The agility of the clarinet is, like that of the flute, phenomenal. . . . Rapid passages come off very much more smoothly and easily if they are not written in very remote keys.”88 In addition, Jacob not only explores the instrument from a solo role, such as a concerto, but also how wind instruments can be used when writing chamber music. To discuss the chamber music element, attention once again returns to the bassoon. “As a solo instrument it [bassoon] is excellent especially when accompanied by a small orchestra or strings alone; otherwise it is at its best in chamber music when combined with a few other wind instruments, with or without a few strings as well.”89 Regardless of the accompaniment parts used, they should not interfere with the most prominent (solo) voice. Jacob now turns his attention to the concept of chamber music as a whole. The first concept deals with the amount of exposure paid to chamber music ensembles. “Unfortunately wind ensembles are rare and are inclined to be impermanent. . . . Performances of works for wind are therefore infrequent. . . .”90 This lack of established and continued performance, however, should not deter composers from writing meaningful and important works for chamber winds. “Their clean and well-defined lines should inspire clarity of thought and liveliness of imagination. . . . Students should write or arrange pieces for different collections of instruments and see how they sound when played. . . .”91 Chapter 7 (Orchestration) With regards to the small orchestra, Jacob did not see it as unable to match up against other larger ensembles. “So long as a composer knows exactly what instruments will be at his

86 Composer, 45. 87 Composer, 45. 88 Composer, 46. 89 Composer, 47. 90 Composer, 48. 91 Composer, 48-9. 28

disposal he should be able to make something of any combination, and he will derive pleasure, and probably a valuable experience as well, from exploring its possibilities.”92 In addition, Jacob notes that this kind of experience can be valuable when asked to write music in any form with limited resources. “The composer of incidental music . . . may be given the number of players he may use, this being dictated by economic considerations. . . .”93 Regardless of the situation or the number of players used, the music must be able to fit into the original purpose for composing the work. The concept of scoring for wind instruments is taken to another level, this time focusing on preparation and adjustments that may need to be made before performing a work for winds. “It is wise to remember to give a wind instrument a rest before an important solo passage of considerable length . . . when a player has to change . . . the player should not be expected to make the change so quickly . . . .”94 In addition, Jacob also discusses the importance of using instruments in an idiomatic way. This includes keeping the range and saving extremes only when needed, such as at a climax. “All instruments should be used for most of the time in the most comfortable parts of their compasses. The writing of prolonged passages in high registers is far more exacting than occasional excursions into extremes of altitude.”95 A certain degree of doubling can be used to assist in maintaining the volume and intensity of the work. Before closing this chapter, Jacob makes another important point that while helpful for both the composer and performer. A high level of craftsmanship and understanding of instruments can actually in itself raise the overall interest and level of performance by the performers. “It is well to remember that orchestral players are sensitive and clever musicians who are quick to appreciate understanding of their instruments by the composer. If they have congenial parts to play . . . they will respond with good will and whole-hearted desire. . . .”96 Chapter 10 (Utility Music) In this chapter Jacob turns his attention to the compositional process, speaking on the demands and limitations for the composer. The first element has to do with the use of themes, with regard to number and frequency of use. “There is some risk of monotony if the same two or three themes are used all the time . . . it is refreshing if entirely new material is used form time to

92 Composer, 54. 93 Composer, 55. 94 Composer, 60. 95 Composer, 61. 96 Composer, 63. 29

time.”97 Jacob also warns about how the music will be perceived by the audience, speaking to a difficult balance between aural and visual. “It has to be remembered that the cinema audience is not a musical one and the music must not obtrude itself to the extent of drawing attention away from the screen itself. The average film-goer is often almost or quite unaware that there has been any music in the film at all. . . .”98 To help achieve these and other goals, Jacob provides a summary of what each instrument offers with regards to the ability to transfer and record sound. Jacob also mentions the kinds of effects that are possible with each instrument. “Flute, clarinet, and bass clarinet are perhaps more faithfully reproduced than oboe, cor anglais, and bassoon. The horn is good and the saxophones always record well. Strings lose some of their beauty of tone and the tremolo, and when placed low, may have a woolly and indefinite sound.”99 Chapter 11 (Abstract and Programme Music) This chapter discusses how music is both connected and separated from other areas of study or influence. These other studies include those of mathematics and emotions. The reason Jacob uses these two contrasting ideas is to explain how a composer can work in a world of both the natural and supernatural. “The artist has an advantage over the mathematician in that his work can stir the feelings and emotions of others without necessarily requiring them any intellectual response. . . .”100 In addition, Jacob not only speaks of this expression of emotions form the standpoint of how the listener is affected by the music. The composer must find a way to communicate his or her message form a world that is mainly unseen. “The world of sound in which he lives much of his life is something that cannot be described in words but only in sound itself.”101 Jacob now turns his focus to the pairing of music with another art form. Before such an endeavor can be undertaken, the composer must first realize the fact the music must be able to stand alone. “A piece of music should be good to listen to apart from any literary associations or preoccupations.”102 Jacob notes that the listening and following abilities of the audience must be taken into consideration. This refers to the fact that since there is an outside force governing the

97 Composer, 84. 98 Composer, 85. 99 Composer, 84. 100 Composer, 89. 101 Composer, 89. 102 Composer, 95-96. 30

creative process, the listeners‟ attention is divided. Therefore, the music must be able to accommodate for this difference. “Whether pictorial or evocative, music must stand firm and square as music and should not demand of the audience more than an imaginative response to some simple, basic, and easily comprehended idea and it must be cast in logical and satisfying musical form so that it hangs together. . . .”103 Chapter 12 (Public Relations) In Jacob‟s mind, the composer should find the medium that is most effective in relaying his message. This medium, however, should not be an unknown one. In order to create a quality work in the genre, “the work must be written with full understanding of the medium and appreciation of its effective possibilities. Players must be made to feel that he understands each instrument‟s characteristics and has used this knowledge to the best advantage. . . .”104 In addition the composer must be able to incorporate his or her own style effectively into the medium, as to retain consistency and clarity. Jacob also speaks of the advantages and rehearsing and learning chamber music. Where chamber music is concerned much more time is usually available than can be allotted to orchestral rehearsal, and the players consequently get to know a work thoroughly before performing it. That is to say they not only know their own parts but those of their colleagues and may think of some small alteration in the actual music, such as the ending or the distribution of parts in a certain passage, which they think would be an improvement.105

Jacob briefly comments on how the actual music, notes and markings, affect the outcome of the performance. First, the composer must understand how these simple markings can affect the performance. “His thoughts are expressed in musical terms. A written score is not music. Only when its symbols are translated into living sound does it come to life.”106 Another simple but at times overlooked factor is the speed at which the music is produced. “Correct tempo is one of the most vital factors in musical performance and much attention must be given to this matter. Metronome marks should always be affixed.”107

103 Composer, 97. 104 Composer, 103. 105 Composer, 104. 106 Composer, 106. 107 Composer, 105. 31

THE ELEMENTS OF ORCHESTRATION

Chapter 1 (History) This chapter provides an abbreviated history of orchestration, looking at composers and their compositions as landmarks to the development of wind instruments. First, Jacob turns to previously written compositions for instruments with regards to availability and style, both being interrelated. “Composers worked to a great extent in isolation and were obliged to make use of such instruments as were available locally. The contrapuntal nature of their music precluded much in the way of massive effects. . . .”108 While this style of polyphony was constant, changes in music meant some adjustments would have to be made to accommodate the next stage. This transition helped in the development and gradual acceptance of instruments. “The changing style of musical composition from polyphony to homophony was accompanied by, and indeed required, a more solid and settled structure for the orchestra.”109 Jacob now turns his attention to wind instruments with regards to both the positives and negatives gained during periods of music: In the early classical period the woodwind suffered from mechanical difficulties and deficiences owing to the lack of a really efficient system of keywork. Their intonation seems to have been not infrequently faulty because there were then no precision tools to produce accurate boring. But Mozart‟s Concertos for wind instruments show us that there were some fine players in his day and one must suppose that there were also very good instruments to be had by those prepared to insist on good workmanship.110

Chapter 2 (Strings and Woodwinds) At the opening of the chapter Jacob makes a comment that both explains his own approach to composing, as well as one that has been used since the beginning when writing works orchestra. “The ear does not tire of string tone as it does of the somewhat less refined sound of wind instruments and extended passages for Strings alone are therefore more frequently met with than those for wind alone. . . .”111 Numerous composers from the Classical period, such as Haydn and Mozart, followed this line of thinking. This did not mean that wind instruments were unimportant. It just meant that when and for how long they were used tended to be less frequent than string instruments.

108 Gordon Jacob, The Elements of Orchestration (Westport, Connecticut: Greenwood, 1962), p.13. 109 Elements, 13. 110 Elements, 15. 111 Elements, 31. 32

While Jacob does speak on wind instruments with regards to idiomatic writing, most of the chapter is used to discuss wind instruments in groups. The discussion begins with a look at how woodwinds were used during the classical period. “In classical times one of the main functions of the woodwind was to give a simple harmonic background to busy string figuration.”112 This meant that the woodwinds played both a primary and secondary role in the music; primary by providing functional harmony and secondary by moving at a slower pace either rhythmically, melodically, or both. When composers first began writing composition for orchestra with wind instruments, there were a few techniques that became standard. First, the concept of reinforcing the melodic line became vital to hearing the melody. “In using woodwind melodically a single instrument might be used, but the flute often doubled in a higher octave a melody on the oboe, clarinet, or violins and sometime the melody would be given also to the bassoon in the lower octave, presenting a three octave combination.”113 This type of texture provided both support for the performer and a pleasant sound for the listener. Writing appropriate dynamic levels is vital in order for wind instruments to be heard. This goes not only for when wind instruments are playing alone, but also with other instruments, as well as part of the overall orchestral texture. “Note the three different dynamic markings, mf, f and ff which it is very important to observe in order to achieve a satisfactory balance and perspective of tone.”114 In the case of instruments that are used sparingly, such as piccolo, dynamics become even more important. Jacob also saw how instruments such as the piccolo could be used in common and uncommon ways. “Very high notes on the piccolo in forte and fortissimo should be looked on as a resource only available in fully scored passages. It can have a most charming effect in piano and pianissimo doubling a lightly accompanied violin or flute melody at the octave higher.”115 With regards to writing for instruments in pairs, Jacob takes a vocal approach. The use of four part harmony (chorale style) allows for Jacob to write complete chords using only four instruments. In addition, Jacob identified which instruments which were best equipped to handle this style of writing. “Clarinets and bassoons make excellent four-part harmony, especially if the

112 Elements, 34. 113 Elements, 34-35. 114 Elements, 36. 115 Elements, 37. 33

music is ecclesiastical in style and a quiet, tranquil feeling is wanted.”116 Jacob discusses different ways to write for pairs of clarinets and bassoons. One of these techniques is called dovetailing, where the second instruments are written below the first instrument of the second group. “This method of dovetailing is often used in laying out chords for woodwinds, especially between oboes and clarinets, in order to obtain a good mixture of tone between instruments of different timbre.”117 Jacob also covers possible problems of writing in this format. These include weak sounding low notes in the upper parts (flutes and oboes), and weak sounding upper notes in the bottom parts (clarinet and bassoons). While such concepts as blend and balance are important, the concepts of variety and independence are vital to the identity of woodwind instruments: It is, of course, one of the main functions of the Woodwind section to provide solo instruments of varied and contrasted tone colour. Flute, Oboe, Clarinet and Bassoon have each of their own characteristics and idiosyncrasies and it is the orchestrator‟s business to develop a sympathetic appreciation of these and to acquire by listening, by the study of scores and, if possible, by consulting players, some insight into the sort of melodies and phrases which suit each one best both from the technical and aesthetic point of view. Very good results can be obtained from a five-piece woodwind section consisting of one flute, one oboe, two clarinets and one bassoon.118

ORCHESTRAL TECHNIQUE

Chapter 3 (Woodwinds and Horns) The chapter begins with an overview of each woodwind instrument with regards to strengths and weaknesses. The horn is also included, separating it from the other brass instruments. The following are short lists that reveal what Jacob believed to be the best and worst ways to write for each instrument. The points of interest are most commonly range, dynamics, tone color, and articulation. There are, however, differences from instrument to instruments, such as solo writing, key signatures, and technical demands such as trills. Lastly, Jacob discusses how each instrument functions in particular group, such as an orchestra.

116 Elements, 37. 117 Elements, 37-38. 118 Elements, p.40. 34

Flute 1) Range: from c below the staff to c two octaves above the treble clef staff 2) Lower register (from c below the staff to a in the staff): lush and beautiful, but can be buried if other instruments are playing, especially at loud dynamic levels 3) Upper register (from a above the staff to the top of the range): brighter tone with ability to penetrate through in a thick texture 4) Articulation: great agility with regard to both short (staccato) and long (legato); mainly in upper register, less so in lower register; good at one note repetition in middle and upper register 5) Impossible trills: c to d-flat and c-sharp to d-sharp below the staff, and some in the extreme upper register

Oboe 1) Range: b-flat below the staff to g two octaves above the treble clef staff 2) Lower register: notes below the staff and into the middle of the staff are dark and rich in color, only heard when played at a louder dynamic level (mf). 3) Upper register: from c above the staff on up, tone becomes light and thin; pitch can also be concern, especially if paired with other instruments. 4) Trills: nothing on d above the staff or higher; avoid c-sharp to d-sharp in the staff. 5) Context: best use found in pastoral moments, and in woodwind phrases that are tossed around the section; full texture, either dynamically or ensemble, lessens overall strength. 6) Solo: the best range for solos is from d below the staff to a above the staff; provide ample rest and spaces to breathe throughout to avoid fatigue.

Clarinet (B-flat and A) 1) Range: g below the staff to b-flat two octaves above the staff (for b-flat clarinet); f-sharp to a two octaves above the staff (for clarinet in a). 2) Lower Register (below the staff): both rich and hollow (unique combination); notes can both swell and die away with equal ease. 3) Middle Register (in the staff): danger area from f to b-flat (both in staff); notes are weak and fingerings are difficult; notes can, however, can move freely from one to the other, such as in scale and arpeggios.

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4) Upper Register (above the staff): pure and clear tone which is easily heard; notes at the top of the register can seem to scream or be shrill, and should be used sparingly 5) Articulation: good in many different areas from soft to loud (dynamics) and from short to long (note lengths), sound excellent in sixths and thirds 6) Trills: avoid f-sharp to g-sharp below and in the staff, and c-sharp to d-sharp both in and above the staff

Bassoon 1) Range: b-flat below the staff to b flat two octaves above the staff (most common); higher notes used as needed 2) Lower Register: strong and powerful, sharp in pitch and hard to control at a soft dynamic level. 3) Middle Register: fluid and smooth, not overly powerful and rich in sound, most dynamic control. 4) Upper Register: clear and pronounced, flat in pitch, hard to control at a soft dynamic level. 5) Articulation: excellent dry staccatos and long legatos; matches well with the oboe 6) Trills: avoid shakes for all notes below the staff, and for d-flat, e-flat, and g-flat in all octaves, as well as on the top line a. 7) Context: provides foundation (harmonic and rhythmic) for the woodwind section; plays with other woodwinds in octaves, works well with clarinets in four part harmony.

Additional Instruments Piccolo 1) Range: d below the staff to b-flat two octaves above the staff (treble clef); notes sound one octave higher than written. 2) Lower Register: weak and not commonly used; can be used for accompaniment purposes with other instruments. 3) Upper Register: shrill and piercing sound; used in unison textures and usually at a loud dynamic level; issues with pitch and balance with other instruments in unisons and octaves.

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4) Players: in orchestra, most commonly played by second flute; in band can have individual and multiple parts

Cor Anglais (English Horn) 1) Range: b below the staff to d above the staff treble clef (written); e below the staff to g above the staff (sounds) 2) Register: best used in bottom octave, into lower octave; overall sound smooth and melancholy. 3) Solo: most commonly used in a solo role; at times used as an inner voice of the woodwind family, but can cause unbalance. 4) Players: in orchestra, most commonly played by the second oboe, in band can have individual part.

Bass Clarinet 1) Range: e-flat below the staff to g two octaves above the staff treble clef (written); d-flat (bass clef) to f in fifth line f treble clef (sounds) 2) Lower Register: rich and full, most commonly used to double/reinforce the bassoons, in orchestra can double the cellos and basses. 3) Upper Register: lacks strength and penetrating power; if given solo‟s can have trouble being heard, especially in a tutti texture. 4) Players: in orchestra most commonly played by second clarinet; in band can have individual and multiple parts.

Double Bassoon (Contra-Bassoon) 1) Range: c below the bass clef staff to e-flat above the bass clef staff (written); sounds an octave lower than written. 2) Lower Register: rich and full, most commonly used to double/reinforce the bassoons, in orchestra can double the cellos and basses. 3) Upper Register: lacks strength and penetrating power; if given solo‟s can have trouble being heard, especially in a tutti texture. 4) Players: in orchestra, most commonly played by the second bassoon, in band can have individual part; since difficult to change instruments, usually written as a separate part to avoid having to switch instruments.

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French Horn (in F) 1) Range: f-sharp below the bass-clef staff to c above the treble clef staff (written); b below the bass clef staff to fifth space f in the treble clef staff (sounds). 2) Accepted Range: c in the bass clef staff to g above the treble clef staff (written); f below the bass clef staff to c in the treble clef staff (sounds). 3) Dynamics: higher notes should be marked in a loud dynamic if possible to help reach and maintain sound; do not write piano or pianissimo dynamics above e in the staff (written) or below g below the treble clef staff (written). 4) Solo: expressive range (lyrical melodic passages) from c below the staff to fourth space e in the staff; savage attacks by “stopping” with the hand; can be used for echo effects. 5) Other Roles: quiet holding notes and fairly stationary filling-in parts constitute the main part of the duty; repeated notes; usually doubled by other instruments. 6) Other Considerations: the first horn part should rarely go below c below the treble clef staff, and the second horn part should rarely be taken above d on the treble clef staff.

Chapter 4 (Winds and Horns) The chapter begins by discussing how complete chords can be scored for pairs of like instruments. In this case, Jacob has a few rules that can be applied in any given situation. 1) Put the lower notes in the second instrument of the pair (i.e. second oboe, clarinet, etc.). 2) Provide ample spacing between the instruments (i.e. place the second oboe part in between the two oboe notes). 3) Always consider the overall sound and blend with regards to the placement of instruments (i.e. individual range of each instrument and tendencies with regards to register).

Another fundamental issue Jacob discusses is that of having pairs of wind instruments that are written in the same register, and with similar sounds, such as flutes and oboes. 1) Pay special attention to registration, and which instruments play in both the high range (flutes) and low range (oboes) 2) Remember which notes are the most prominent (upper), and which notes are the least audible (lower); bass can always be doubled at the lower octave.

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3) Leave octaves on the lower range of instruments, as the notes on the top octave become higher and closer in both range and dynamics. 4) Dissonance played by one instrument must be resolved by that instrument, unless a break or pause occur separating sections. 5) Same idea with regards to the direction of each line, as each instruments own part must start and go somewhere, regardless of harmonic structure.

The next part of the chapter deals with some of the most important issues with regards to writing for pairs or groups of wind instruments. The focal point is doubling, which produces unisons and octaves. These can both be difficult to score and balance with the rest of the ensemble. First, Jacob gives examples of different pairings of woodwind instruments written in octaves. This includes the positive and negative effects of different pairings of wind instruments. Before getting specific, Jacob gives offers advice for the doubling of wind parts on both a large and practical scale: On the whole, perhaps, octave-combinations are of better effect and are more powerful and telling than actual unisons between instruments of diverse timbres. These, however, are freely used either to obtain further variation of colour or to strengthen a melodic line which would be too weak on a single wind instrument. Unison doublings should be very sparingly employed in all but the full orchestra.119

Flute 1) Octaves: adds brightness to any other woodwind instrument, as well as horn, and especially good with both clarinet and bassoon. 2) Unisons: works well with all woodwind instruments and horn; low and middle registers with oboe, all registers with clarinet, low register with both bassoon (upper register) and horn.

Oboe 1) Octaves: does not work well with clarinet, but does work well with bassoon, and especially horn. 2) Unisons: does not work well with horn, but does work well with clarinet and bassoon; creates an exotic sound when placed in low range.

119 Gordon Jacob, Orchestral Technique (London:Oxford University, 1940), p.37. 39

Clarinet 1) Octaves: works well with bassoon (can be stretched to two octaves) and with horn (excellent blend). 2) Unisons: works well with the bassoon in both the medium and upper register, as well as the horn.

Bassoon 1) Octaves: works well with clarinet (can be stretched two octaves) and with horn (excellent blend). 2) Unisons: works well with clarinet in both the medium and upper register, as well as horn.

The following quote shows both Jacob‟s understanding and consideration when doubling parts for woodwind instruments: The power of any of the above may be doubled by using two of each instrument, or if prepondance of one tone-colour were required, a pair of one sort of instrument would be combined with a single instrument of another sort (e.g. 2 clar. + 1 oboe). Slight imperfections of intonation are less noticeable, by the way, between two pairs of instruments combined in unision than between two single instruments combined. The use of a pair each of clarinets, bassoons, and horns in unison produces a rich powerful ebsemble of great depth and beauty of tone. The unison of flutes, oboes, and clarinets is also of considerable power and uniformity of tone (the oboes perhaps slightly predominating).120

These three texts offer valuable insight into the thought process, realization, and production of works for woodwind instruments. By following the concepts and ideas discussed, a composer can become capable of composing works for any number of woodwind instruments. In addition, through careful study and practice, any composer can create masterful works for winds, adding to a neglected but vital part of music composition: works for chamber winds.

120 Technique, p.37-38. 40

CHAPTER 3: DIVERTIMENTO IN E-FLAT

Divertimento in E-flat, scored for standard harmoniemusik instrumentation, was written on 1 October 1968, and was premiered on 15 June 1970 by the London Wind Soloists. The first movement, titled March, uses several musical elements as the foundation for the entire movement. Major or minor thirds can be found between pairs of instruments from the beginning of the movement, mostly in the oboes and clarinets (Figure 3.1).

Figure 3.1: Divertimento in E-flat, movement 1, measures 1-4

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These intervals (thirds) are played as part of complete or incomplete chords. Jacob uses this concept to his advantage, making the listener feel that the key is constantly shifting. By adding chromatic pitches, the tonality can shift on a moment‟s notice, making changes in key both common and frequent. This constant shifting of key also means the only parts that are really in E-flat major are the beginning and ending of the movement. The rhythmic unit of four consecutive sixteenths commonly features at least two or three chromatic notes. There are two advantages to this technique. First, chromatics fill-in the gaps between notes and as a result provide perpetual motion. Second, allowing the short melodic lines to be expanded in ascending and descending motion gives the melody direction and intensity, as well as a higher level of rhythmic activity. The second element, articulation, features four distinct types: staccatos, accents, legato, and marcato. Each one of these articulation brings variety and style to the work. Shorter and more angular articulations are preferred over longer and more flowing ones. These articulations are also used to create moments of rhythmic instability. For example, an accent on a weaker beat, such as beat four, can cause a momentary disruption of the beat or pulse. In addition, Jacob is extremely particular with regards to the frequency and variety of articulations used. Frequency is evident with the marking of every single note (such as eighths) within a bar (Figure 3.2). The third element has to do with the march-like rhythms found throughout the movement. The majority of these rhythms consist of a dotted eighth-sixteenth note, with the dot occasionally replaced by a rest. The goal is to play this rhythm and cleanly and precisely as possible. That means striking then decaying the longer note value as quickly as possible. The sixteenth must be the most important note, and serves as a pick-up to the next note. In addition, if the dotted rhythm becomes too much like a triplet, the two will seem identical.

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Figure 3.2: Divertimento in E-flat, movement 1, coda

The fourth element involves dynamics, with softer levels prevailing throughout. While the dynamics at times follow the contour of the melodic line-(crescendo upwards and decrescendo downwards)-these instance are rare. The majority of the time contrast is created by abrupt changes from soft to loud and vice versa. In addition, no one instrument or voice is given preference over the other, as the dynamic markings remain consistent between group members.

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The last element involves orchestration. Jacob accomplishes a light texture throughout by having few tutti moments. The most common number of instruments playing at one time is four, which is only half the ensemble. This low number helps to keep the texture clear, allowing for all of the voices to be heard without having to force the sound. In addition, Jacob reserves true tutti sections for climaxes and the end of the movement. This allows for constant rising and falling, making the listener wonder when the climax will occur. Performance issues concern style and consistency. First, the standard style of a March, light and up-beat, must be maintained throughout the entire movement. Second, the balance between instruments must be equal and blended. Third, the large contrast between dynamics must come immediately every time they appear. Lastly, articulations must stay short and dry to help keep the feeling and the tempo light and up-beat. The second movement, titled Sarabande on a Ground, uses a cantus firmus as the foundation for the entire movement. Any additional melodic material, such as primary and secondary melodies, are always accompanied by the cantus firmus. Simple in nature, the melodic material consists of symmetrical phrases with ascending and descending stepwise motion, assisted by passing and neighbor tones. In addition, rhythmic durations and patterns are quite simple, with the fastest note value only being sixteenths. As a common rhythmic feature with sarabandes, the Sarabande on a Ground accentuates beat two. The first horn begins the movement playing the cantus firmus. The first solo that accompanies the cantus firmus belongs to the oboe, which is the primary solo instrument used throughout the movement. There are occasional solo passage for the first clarinet and first bassoon. The first ensemble section features all of the instruments except the horns. The division of the material consists of three solo voices, the two oboes and first clarinet, along with the cantus firmus in the second clarinet and first bassoon (Figure 3.3).

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Figure 3.3: Divertimento in E-flat, movement 2, measures 13-16

The second section, which uses the second oboe and both clarinets, is highly chromatic and poses a challenge from a performance standpoint. To add direction and intensity to the line hairpin dynamics and crescendos followed by decrescendos are needed. The third section also presents several performance concerns. Jacob has written the three highest instruments, first and second oboe along with first clarinet, in the upper tessitura. Pitch, intonation, and balance are the main concerns. An option given by Jacob involves all of the instruments playing the parts one octave lower than written. The fourth ensemble section has two distinct features. This is the first time that Jacob uses triplets in the movement. This continues rhythmic diminution that started at the beginning of the movement and will conclude before the climax. The triplets reappear in the first oboe now more frequently and in sequence. The highly chromatic section returns as accompaniment for the

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solo oboe. A brief interlude between the horns, the only instruments left out of the first ensemble section, leads to a restatement of the previous triplet section. The climax, one of the few tutti sections in the movement, involves all of the instruments except the horns playing the cantus firmus in unison octaves. The horns do enter one bar after the rest of the ensemble, creating a canon. The dynamic marking of fortissimo is the loudest used in the movement, and the entire work. The climax is preceded by a unison statement of the cantus firmus in the lower four voices (bassoons and horns), while the upper four voices (oboes and clarinets) play primarily sixteenths. A gradual winding down of the music happens both rhythmically (augmentation) and dynamically (diminuendo). In addition, Jacob doubles the lower voices, bassoons and horns, creating a full and rich texture. This also allows the second oboe and clarinet to drop out, getting a rest before the start of the last section of the movement. The remainder of the movement consists of one more ensemble section, this time with an unusual number of instruments playing (five instead of four). In addition, the opening two bars of the movement are repeated, each bar one extra time. The last three bars feature the only use of a 4/4 time signature in the 3/4 movement. The single beat rest for everyone, on beat one of the first 4/4 bar causes a brief metric shift, and temporary loss of the steady beat and pulse. The cantus firms is heard one last time, accompanied by drones, and leads to the end with the ensemble holding a perfect fifth interval, F to C (Figure 3.4).

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Figure 3.4: Divertimento in E-flat, movement 2, measures 70-72

The third movement as evident by its title is a Rondo, specifically a seven part rondo. The A section brings back the stylistic qualities used in the first movement of simple, light, and up- beat. The same articulations also return, consisting of staccatos, accents, and marcatos. Other returning features of the A section include accents on the weak beats, either on or off beat two (Figure 3.5). Alternation between groups of instruments, usually four and four, as well as the lack or shifting of the beat and pulse, also return.

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Figure 3.5: Divertimento in E-flat, movement 3, measures 5-10

The following sub-section develops and elaborates the previously heard A theme through rhythmic and textural manipulation. This section consists almost exclusively of eighth notes, creating a steady beat and pulse. The use of accents on weak beats, however, cause momentary lapses in the consistent eight note motion. Almost all of the notes are marked staccato, creating a light and thin texture. This is ironic, since there are eight bars of tutti playing. Towards the end of this section, longer note values are added, such as dotted quarters. The use of ties over the bar creates additional moments of unrest and rhythmic instability. There is a short transition section, signified by an eighth note followed by three accented quarter notes (Figure 3.6). After a flourish of sixteenths leading to an arrival point, the B section begins. While similar to the A section stylistically, the B section moves to and from different keys more frequently, has shorter asymmetrical phrases, and is more rhythmically stable. The A theme returns, this time with a bass line in the bassoons. Two sixteenth note pickups in the horns lead to a developmental area that precedes the C section.

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Figure 3.6: Divertimento in E-flat, movement 3, measures 29-32

The C section features transitional material, and uses expansion or repetition, or both, to develop previously heard themes. The most notable feature is alternating pairs of instruments, starting with the horns, then the clarinets, and finally the oboes. The entire ensemble joins in at the end of the first and second endings, the second of which sets up the C section. There are two pick-up bars played by the first clarinet that precede the beginning of the C section. The C section brings a completely different feel and style than the previous sections. The most notable difference is the stylistic term marked at the beginning of the section. The style marking of cantabile applies first with the clarinet solo, and later in the solo first horn (Figure 3.7). The staccato markings remain in the accompanying instruments, but this time with a term (stacc.) instead of one marking per note. This marking is also used to show that the walking bass line in the accompaniment needs to be played lightly. There are other accompaniment lines which act as perpetual motion underneath the solos. In addition, there are drones in the second horn part which help establish and maintain the new key of C minor.

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Figure 3.7: Divertimento in E-flat, movement 3, measures 97-102

After the C section the earlier transition/development material returns, which is then fragmented and developed through changes in key, meter, and length of material (i.e., longer or shorter). Jacob occasionally throws in a 3/8 bar in the middle of a section in 2/4. While at first glance this may seem troublesome, there is a simple solution. By maintaining a steady eighth note pulse, the issue of performing the measure correctly quickly becomes a non-issue. This also adds another element of rhythmic variety to a movement with an extremely strong sense of beat and pulse. Additional rhythmic variety can be found in the use of ties and syncopations, usually consisting of weak beat (such as beat two) accents. The original exposition material (ABA) returns in much the same format as before. Subtle changes that take place to add variety to repetition include dialogue between instruments, creating a call and response effect. Before the close of the work, Jacob gives the impression that the piece is driving towards the end, helped by repeated eighth notes and a crescendo. This increased intensity comes to a halt, however, to provide for a horn (duet) cadenza. After this cadenza, the piece returns to the original tempo by way of a Piu Allegro. Jacob brings back the woodwind ensemble concept of the second movement, adding the horns and second bassoon only after all of the other instruments have entered. A trill in the second clarinet raises the overall level of activity. The movement drives towards the end by way of rhythmic

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diminution in the horns. Ironically, the piece ends at an even softer dynamic that in the beginning of the first movement, pianissimo instead of piano.

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CHAPTER 4: THREE ELIZABETHAN FANCIES

Three Elizabethan Fancies, scored for standard harmoniemusik instrumentation, was written in 1 February 1979, and was premiered on 23 June 1979, at Lakeside, St. Paul‟s Walden Bury, at the home of Simon Bowes Lyon, and performed by the Amadeus Wind Octet. The work is written in three movements: The Carman’s Whistle, A Toye, and Quodling’s Delight. The first movement, The Carman’s Whistle, written in rounded binary form, opens with two four-bar themes that are used throughout the movement. While similar, the two themes do have distinctive features. The first theme, which opens the work, uses the gigue-like (dotted quarter-eighth-quarter) rhythm only at the very end (Figure 4.1). In addition, the harmony comes to rest on the dominant (G major) instead of the tonic key (C major).

Figure 4.1: Three Elizabethan Fancies, movement 1, measures 1-4

Then second theme, however, uses the gigue-like rhythm twice. In addition, this themes harmony comes to rest on the tonic (C) instead of the dominant (G). Both themes mark the beginning and ending of phrases, as well as formal divisions or sections of the movement. In this case, the clarinets and horns get to play the second theme (Figure 4.2).

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Figure 4.2: Three Elizabethan Fancies, movement 1, measures 9-12

After a redundant statement of the second theme, the opening homophonic texture changes to melody and accompaniment. The flutes play both of the themes together, with the first playing the first theme and the second part playing a diminuend and ornamented version of the second theme. While the flutes focus on the main melodic material, the horns provide both rhythmic and harmonic support by playing chord tones on the strong beats (one and three). The roles are then immediately reversed, with both pairs of instruments increasing their dynamic levels; mezzo-piano to forte in the flutes and from piano to mezzo-forte in the horns. The melody and accompaniment texture remains, but this time the ratio is three to one. The first clarinet by way of more increased rhythmic activity becomes the prominent voice, while the other instruments now use the main themes as secondary material. This activity level is increased by adding the second clarinet a few bars later. These themes continue in a supporting role, but are developed and expanded to lengthen the overall duration of the section. In addition, the tonic key of C major has now formally shifted to the dominant of G major. There are slight moments of F major, identified by the use of B-flat, before leading back to the dominant and eventually the climax of the movement. The climax is identified by a tutti section with all of the instruments playing complete statements of the first and second themes. In addition, the use of both the dominant and the

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subdominant are repeated and reinforced. The keys which are being moved to and from are related by sixths; D major, B-flat major, and g minor. Numerous deceptive cadences and resolutions help to disguise the harmony. A Neapolitan sixth chord signals a real lead to the dominant and return to the tonic key of C major. The next subsection can be identified by the syncopated accents in the clarinets. In addition, at this point the first horn now has the melody, accompanied by the second horn. Immediately following the flutes now take the place of the horns as the lead voice. The first bassoon helps by providing both a harmonic (chord tones) and rhythmic (quarter note pulse) foundation. The next section can be easily identified by the first use of a triplet rhythm in the clarinets. This rhythm also serves another purpose. The renaissance dance style that has to this point dominated the work now becomes more apparent and defined. This means placing the focus both rhythmically and melodically on beat one and four. In addition, the rest of material must be played detached (staccato) to provide a steady beat and pulse, especially on repeated notes. This time consonant intervals provide a more solid harmonic foundation. In addition, the principal theme disappears for two bars, making this change in style more noticeable to the audience. One more statement of the principal theme concludes this section. The classical style continues in the next subsection. This time, however, these musical elements are taken to another level. The constant use of eighth notes and quarter notes, all written staccato, help to provide a steady beat and pulse. This helps to contrast with the clarinets, which are playing the melodic line, complete with slurs. This includes a six-note pickup (also slurred) into this section, acting as both a pick-up and carry over from the previous section. The dynamic level of piano helps to keep the style light and upbeat. The slurred melodic line now transfers to the bassoons part, with the first horn joining in playing a counter melody. The closing section of the first part (A) of the movement once again features everyone except the horns. The fortissimo dynamic marking as well as the perpetual motion in the clarinet parts make this section solid and defined in both intensity and direction. In addition, the marcato articulation marking indicates that the music is to be played with conviction and definition. Another feature that makes the closing section unique is an imitative line that takes place between oboes and bassoons. Note that both bassoons jumps up an octave, while the other instruments remain in the same register (Figure 4.3). While the opening notes are in octaves the remaining intervals are primarily thirds and sixths.

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Figure 4.3: Three Elizabethan Fancies, movement 1, measures 72-75

A tempo marking of meno mosso along with a style marking of Tranquillo, as well s a change in key from C major to E-flat major, denotes a completely new section. This section brings together all of the previously used themes, but changes to a smoother and more flowing style by way of a dolce markings (Figure 4.4). It is interesting to note that the first phrase is in the first clarinet and horns, totaling three players. This comes as a surprise since the majority of the movement features even numbers of instrument playing together. The clarinets and bassoons have the elaborated principal theme with the gigue rhythm alternating between instruments. While the first two bars are the same with regards to orchestration, dynamics, and harmony, Jacob uses elaboration to vary the repetition. The most notable elaboration comes in the clarinet parts by way of passing and neighbor tones.

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Figure 4.4: Three Elizabethan Fancies, movement 1, measures 82-86

Repetitions of the gigue theme with accent markings, as well as a change of key, mark the return to the A section. However, before returning to the principal theme, a previous section returns. The classical style, complete with staccato marking and a piano dynamic, delay the return of the principal theme. The closing section begins after the first oboe and clarinets play the principal theme. The triplet rhythm also returns in the first clarinet, with the rest of the ensemble having the principal theme and gigue figures. There is a gradual slowing of note values (augmentation), but not the tempo. The movement concludes with all of the instruments playing in a homo-rhythmic texture. The final three chord changes are accompanied by a drone in the bassoons. The final harmonic progression is bVII79 to ii7 to I6. This unusual progression brings the movement to a notable, but not complete close. The I6 chord, while being the tonic, does not convey finality due to its first- inversion voicing and the third of the chord (E) being in the lowest voice, in this case the horns. The lack of a low note, most notably in the bassoons, gives the chord a hollow feeling, and ends the movement without a firm sense of completion or conclusion. The second movement, titled A Toye and written in binary form, begins with the entire ensemble playing except for the oboes. The key of the movement is F major, the subdominant to the key of the first movement, C major. The phrase structure is identical to the first movement,

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primarily symmetrical lengths. The fastest rhythmic value is sixteenths, which are used exclusively at the ends of sections. The softest dynamic level is piano, found at the beginning of the movement, and the loudest is fortissimo, found at the end. The first four bars feature the horns playing the principal theme, a sigh motive in thirds and sixths (Figure 4.5).

Figure 4.5: Three Elizabethan Fancies, movement 2, measures 1-4

The rest of the ensemble, clarinets and bassoons, provide accompaniment through functional harmony. The dynamic level is piano, with the addition of a dolce marking. The second clarinet and bassoon parts are more rhythmically active than the firsts. The first clarinet part is written extremely low, creating a hollow and wispy sound. In addition, the same can be said for one of the melody instruments, second horn, as the lower range is used throughout these four bars. The following four bars bring a change of dynamics and increased rhythmic activity. Eighth notes, both broken and continuous, appear for the first time. In addition, the melody and accompaniment roles are switched. The oboe and clarinets now the play the melodic lines, while the bassoons and horns provide accompaniment. The original sigh theme is now elaborated and varied by way of eighth note passing tones. The last voices heard are those of the bassoons, which are marked at forte, signaling a dominant extension. The next four bars continue with a dominant extension at the forte dynamic. The same melodic and stylistic ideas used in the previous four bars, passing eighth notes with the sigh motive, remain intact. The horns, which began this section, bring it to a close. The second section begins in much the same fashion as the first. This time, however, there are several slight differences. First, the sigh motive used in the first section returns, now

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written for the clarinets, with the first horn used to complete the harmony, which now implies B- flat major. In addition, the bassoons are now more rhythmically active, playing quarter notes instead of half notes. The second horn does not begin to play until the third bar, opposed to all three pairs of instruments playing from the beginning of the first section. Lastly, the second clarinet part acts as accompaniment to the first instead of playing in exact rhythmic unison. The next four bars feature one of the most unique harmonic moments in the movement. The key suddenly shifts from F major to E-flat major (Figure 4.6). The shift of a whole step downwards (I to bVII) is striking, especially when preceded by functional harmony in F major (I- V) in the previous two bars. However, the fact that the second section began in the implied key of B-flat major makes a departure to E-flat major not a far stretch (i.e. I-IV or V-I). The second scenario seems more likely, based on the fact that the E-flat major chord is immediately followed by an A-flat major chord (I-IV or V-I).

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Figure 4.6: Three Elizabethan Fancies, movement 2, measures 19-22

This abrupt harmonic shift only lasts for a moment, as the following two bars return to the original key of F major, confirmed by the descending tonic arpeggio in the second bassoon. The next eight bars are similar to the first eight, being divided into two, four-bar sections. However, there are some subtle differences between the first and the second part. This time the rhythmic motion has been increased, consisting mainly of eighth notes as the fastest note value instead of quarters. The dynamic levels are also different, moving from piano/pianissimo to

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mezzo-forte/forte, with a fortissimo occurring at the end of the movement. In addition, for this section Jacob has divided the ensemble in half. The upper part (oboes and clarinets) play the melodic lines, while the lower part (bassoons and horns) providing rhythmic and harmonic accompaniment. To note one similarity, the E-flat shift reappears, this time however, at a forte dynamic. Jacob reserves the fastest note values for the end of the work, specifically the second ending. There is also one last harmonic surprise in the second ending. Both the first and second endings conclude on the tonic of the original key (F major). The first ending offers a more convincing conclusion by way of a perfect authentic cadence, confirmed by a descending octave in the second bassoon part (C), and the leading tone in the second oboe (E). The second ending features a rhythmic flourish (consecutive sixteenths) in the first clarinet and bassoon parts. In addition, the bassoon has an E-flat, implying the key of B-flat major. This brief shift in key, however, does not prevent the movement from ending in the original key of F major (Figure 4.7). The texture is full with the entire ensemble sustaining a whole note, accompanied by the only marcato markings in the movement. Ironically, the second ending sounds less complete than the first, due to the fact that the lowest part, second horn, has the third of the chord (A).

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Figure 4.7: Three Elizabethan Fancies, movement 2, measures 31-34

The third movement, Quodling’s Delight, begins with a four bar introduction. The oboes and clarinets play a powerful opening, supported by a forte dynamic and the use of accents (Figure 4.8). While first three beats are strongly articulated, the fourth beat is not due to the shorter duration (eighth instead of quarter), and no articulation marking (accent). This eighth note serves as a pick-up. This allows for each bar to independent, yet also connected to the following and preceding bars, maintaining the direction and intensity of the music.

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Figure 4.8: Three Elizabethan Fancies, movement 3, measures 1-4

The next four bars feature the main theme used throughout the movement. Played by the first oboe, the principal theme is rooted in the tonic (A minor), uses three consecutive quarter notes followed by two eighth notes, and has an articulation marking of staccato. The clarinets provide harmonic reinforcement, outlining the harmony in triads. The bassoons and horns offer a steady pulse by playing on strong beats (one and three). It is important to note that the top parts provide the melodic lines and the bottom parts provide the bass lines. In addition, the dynamic levels of mezzo-forte for the top parts and piano for the bottom parts suit the melody and accompaniment texture perfectly. The next three bars offer a unique glimpse into Jacob‟s ability to change texture and subsequently the color of the music. All of the instruments stop playing except the two oboes and first clarinet. The music now consists of a woodwind trio, with each player given a separate function (Figure 4.9). The first oboe now plays a countermelody instead of the principal theme.

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The second oboe then takes over for the first, playing the principal theme. The difference between the opening statement and this one is the dynamic marking, piano, and the articulation marking, poco marcato. The first clarinet provides rhythmic support with perpetual motion consisting of consecutive eighth notes. There is a one bar extension at the end with the bassoons joining in, implying a return to the original key of A minor.

Figure 4.9: Three Elizabethan Fancies, movement 3, measures 9-12

The next four bars are written in the same style and spirit as the opening four. This time, however, Jacob has made a few changes. First, the clarinets and bassoons now play in pairs instead of oboes and clarinets; the bassoons also provide a countermelody to the returning opening theme. Second, Jacob has made an addition to the articulation marking. While the clarinets retain the accents, the bassoons have slurs. In addition, the key has now shifted momentarily to C major. Lastly, the unison texture has now been replaced by complete triads.

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Jacob now turns to a quartet texture, but this time with a twist. There are technically five instruments playing. The bassoons, however, are in unison, playing the principal theme. The dynamic level of mezzo-forte along with the poco marcato marking makes the bassoons the primary voice (Figure 4.10). The first oboe and clarinet provide the countermelody. The mezzo- piano dynamic puts these parts in the background, but are still important to the overall texture.

Figure 4.10: Three Elizabethan Fancies, movement 3, measures 21-24

The next four bars feature for the first time the entire ensemble playing together (tutti). The first oboe and clarinet continue playing the countermelody, this time in the recurring jazz/swing style. In addition, the second oboe takes the previous smooth and connected style compete with eighth notes and slurs. The rest of the ensemble now has the principal melody. It is interesting to note that while the horns and second clarinet have the principal theme in its original form, the bassoons do not. The bassoon part features elaborations, both harmonically

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and rhythmically. In addition, the bassoons are the only instruments that have a mezzo-forte marking, making their line the most prominent with regards to volume. The next eight bars feature a complete departure for both the opening and principal themes with regards to style and feeling. The use of slurs has now been extended from two or three beats per bar to carrying over into the next measure. Throughout all of the entrances, however, no more than four instruments are playing at one time, despite the fact that there are parts written for six instruments. In addition, each voice or pair of voices uses a different type of motion, parallel, contrary, and similar, creating the illusion of multiple voices. There are two other features that make this section unique. First, the use of a pick-up note offbeat has been pushed-back to the first half of the measure. Up until this point the pick-up note was used to connect one bar to another, going from the fourth beat of the previous bar to beat one of the next. This time, however, the pick-up is now used to focus on beat three. This after-beat type of phrasing creates a connection between notes outside the measure (Figure 4.11). The other feature is the dovetailing that occurs between instruments, most notably the bassoons. Since the dynamic level is piano for all of the instruments, not one instrument is given preference over the other(s). In addition, all of the instruments are written in comfortable ranges, allowing the focus to be on the style to be the focal point instead of the technique.

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Figure 4.11: Three Elizabethan Fancies, movement 3, measures 32-36

The length of this sub-section is nine bars, representing a break from the even number format previously used. The first seven bars take the previous legato and smooth style used in the opening theme, and now applies it to the principal theme. The principal theme, however, features sequence and repetition to transition to the upcoming B section. This means that the concept of antecedent/consequent no longer appears. A shift in harmony begins with the inclusion of a B- flats and A-flats. This means that the harmony is moving away from the original key of A minor into a distant key, C minor. The last two bars before the B section feature only the oboe playing these two new notes in neighbor pattern. The meno mosso marking means a slowing of tempo and a set up to a new section. The B section, marked Andante espressivo with a tempo marking of quarter note equals sixty-three, features a key change from A minor to C minor. This creates a relationship from the opening key to the new key of tonic (i) to flat-median (iii). The texture has now returned to the

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previous melody and accompaniment format, with the first oboe playing the melody and the rest of the ensemble providing harmonic support (Figure 4.12).

Figure 4.12: Three Elizabethan Fancies, movement 3, measures 46-49

The next section features Jacob using only the top half (oboes and clarinets) of the ensemble. The opening theme of this movement is repeated, but this time elaborated. The most noticeable variation is in the accompaniment parts, which are more rhythmically active than in the opening of this section. Jacob takes the concept of using woodwinds in thirds to another level. Both the oboes and clarinets are placed a third part for the majority of these four bars. The smooth style, along with perpetual eighth notes exchanged by dovetailing, helps to keep the motion of the music moving forward. In the next four bars, the bassoons enter first, followed by the horns. The opening theme of the B section returns in the first oboe. This time, however, the melody starts on beat four instead of beat one. In addition, the first clarinet doubles the first oboe, providing support and variety to the previous (solo) opening statement. Another major difference comes in the horn parts, which are used as rhythmic pick-ups, and immediately after as drones. The bassoons are the only ones that are less prominent the second time. Even the first horn gets a brief solo moment, which occurs in the last two bars

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before the A‟ section begins. As a side note, the tempo change from the B to the A‟ section should be immediate without any accelerando. The A‟ section, as one might imagine, begins in much the same fashion as the A. This time, however, the opening four bars are repeated twice instead of going on to the principal theme. There are also textural changes in addition to structural changes. While the opening featured only the oboes and clarinets, this time the bassoons join in. The first provides perpetual motion through consecutive eighth notes, and the second a steady beat through quarter notes. The horns also join in starting in the third bar playing fanfare-like themes which consist of half-notes in octaves followed by repeated notes (Figure 4.13). The next eight-bar section uses the principal theme, but Jacob has made a few changes. First, the harmony has shifted to F major from the previous key of A minor. Second, all of the instruments are playing the theme except for the horns, which continue to play the fanfare theme. This is in contrast to only the first oboe playing the theme at the beginning of the A section. Jacob has, however, also achieved quite a unique sound by his way of scoring the ensemble. Even though the oboes, clarinets, and bassoons are playing together, it is in unison, creating an open and hollow sound. This allows the horns, outnumbered six to two, to play the fanfare theme while also serving as the dominant voice. Jacob ensures this prominent position for the horns by writing accents on the longer note values, as well as using a marcato style throughout.

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Figure 4.13: Three Elizabethan Fancies, movement 3, measures 64-67

The last twelve bars are divided equally into three, four-bar groupings, with each group of instruments having a specific role and responsibility. The oboes have an ascending second sequence, with a rhythmic pattern of a quarter note followed by two eighth notes. The clarinets play the principal theme with the same ascending second sequence. The three quarter notes flowed by two eighth notes mean that the oboes only play in unison with the clarinets on the last beat. The bassoons and horns bring back the whole and half note accompaniment used in the second, as well as the original key of A minor. The result of this division of labor is that each

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pair of instruments plays twice as fast as the previous ones, starting from the bassoons (whole notes), all the way up to the oboes (eighth notes), creating a rhythmic diminution (Figure 4.14).

Figure 4.14: Three Elizabethan Fancies, movement 3, measures 88-92

There are moments, however, that all of the voices come together (tutti) if only briefly, sometimes no longer than a quarter note. In addition, accents are used to make these tutti

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moments more defined. Harmonically, there are many deceptive cadences and prolonged progressions. This helps to extend the movement, as well as delaying the end of the piece. In addition, the leading tone to the tonic (g-sharp) only appears at the penultimate bar, having basically disappeared for three bars. The end of the movement features an unusual progression. The harmony (vii-I) makes the ending sound complete, but not conclusive. The lack of a perfect authentic cadence, along with syncopations in the penultimate bar, offers little feeling of finality. In addition, Jacob gives the listener one last surprise, ending the piece in A major instead of A minor, using a Picardy third.

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CHAPTER 5: SERENADE FOR WOODWIND

Serenade for Woodwind, scored for pairs of woodwind instruments, was written in May of 1950 for the Cambridge Festival. The first performance was given on 1 July 1950 at the Court of Clare College by the London Wind Players. The first broadcast performance was also given by the London Wind Players in 1951. The first London performance was given by the Wind Music Society in 1958. The work consists of eight movements: March, Arietta, Gavotte, Interlude (Incantation), Toccatina, Sarabande, Scherzo, and Epilogue. The March, written in ternary form, begins with a presentation of the primary theme in the flutes and bassoons (Figure 5.1). This theme marks the beginning of both A sections.

Figure 5.1: Serenade for Woodwind, movement 1, measures 1-4

After this opening statement, contrasting material consisting of slurred (legato) eighth notes with accents placed on the weak beats appears to help offset the metrically solid primary theme. The primary theme is once again stated, but this time slightly modified at the end. Instead of ending on and inferring the dominant in the original key (F/B-flat), there is an abrupt

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harmonic shift to G-flat major (bVI). After this presentation of the main theme, the secondary theme finally appears. What separates the secondary theme from any other additional themes is the fact that it can be found throughout the entire movement. This theme is identified by the tenuto dotted quarter note to an eighth note which is immediately repeated. The sub-theme used is similar to that following the first presentation of the main theme, except now used in both a flowing (slurs) and marked (staccatos) style. The development section opens with the main theme used in stretto, after which the second theme begins, now for the first time pairing with the main theme instead of alternating (Figure 5.2). The secondary theme can be found in the oboes, which contrast by way of rhythm (dotted quarters), and articulation (staccatos).

Figure 5.2: Serenade for Woodwind, movement 1, measures 29-35

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The secondary theme and the main theme will both be elaborated and varied during the rest of the development section. The first variance involves shortening of both themes, as the commonly used four bar alternations are now just two. In addition, groups of four instruments have also been reduced to two. Throughout the entire work, Jacob favors using an even number of instruments. This allows for the main melodic material to be heard, and for that material to be supported in such a fashion as to be the prominent but not overpowering primary voice. The recapitulation follows the same format as the original A section. All of the themes return in their original order. The slight changes have to do with orchestration, as instruments now get to play different roles, such as switching from accompaniment to solo. The codetta references the previous thematic material, and also returns the players and listeners to the original key. Everyone except the horns remain at pianissimo throughout the codetta. The movement ends in a much different fashion from where it started, with the horns and bassoons playing a B-flat major chord at a dynamic level of pianissimo. The Arietta, also written in ternary form, begins with the main theme in the first flute part. The oboes provide both rhythmic and harmonic support, playing consecutive eighth notes in thirds; the bassoon also provides this support, but while playing much longer note lengths (Figure 5.3). After the original four bar statement, the flute begins varying the theme by way of chromatics and triplets. In addition, the accompaniment is also varied, as the oboes switch from eighths to quarters, and the bassoon from halves and dotted halves to quarters. Another interesting aspect involves elision, which utilizes the flute or any other solo voice continuing on while the accompaniment comes to an end.

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Figure 5.3: Serenade for Woodwind, movement 2, measures 1-4

The development section, starting with the entrance of the solo clarinet, expands all of the previous ideas found in the exposition. There are a few changes that deserve special attention with regards to harmony, rhythm, and voicing. The harmony, while slightly altered in the exposition, expands with the addition of numerous chromatics, most notably in the oboe and clarinet parts. Rhythmically, the triplet idea is now repeated and developed, most notably by the oboes in thirds. With regards to voicing, the solo and accompaniment feeling of the previous section has now been replaced by alternating groups of instruments, written in much the same fashion as the first movement, specifically the development section. The recapitulation, while following all of the previous patterns of the exposition, does have a few changes. The solo line, while first only played by the flute, now alternates between the flute and oboe (Figure 5.4). Second, the ostinato eighth note motion in the oboes has now been moved down to the clarinets. The third and last difference is that Jacob wastes no time moving from one section to another. To help with this process, the melodic line in the flute has been shortened, stating and then developing the main theme almost immediately. There is a slight pause (eighth note rest) before that last phrase. The last statement of the main theme is

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given to the first oboe. The movement ends in the same fashion as the first, with the bassoons and horns playing the last chord, the tonic in the original key of F major.

Figure 5.4: Serenade for Woodwind, movement 2, measures 30-33

The Gavotte, written in binary form with the addition of a D.S al Fine, brings a new feeling and style to the work. Since this is a dance, the overall feeling of lightness and pulse must be maintained. From the beginning of the first section, Jacob helps to establish these traits in the music. First, almost all of the note values with the exception of those that end sections or phrases are of the short variety. Second, the use of staccatos and accents help maintain a fluid motion while emphasizing the main/strong beats (one and three). Third, the overall light texture, along with adding and subtracting parts as needed, allows for textural variety without sacrificing clarity. Points of rest are used simply to reinforce the harmony and give the other players a chance to breathe. Chromatics help to shift the tonality on frequently from one key to another.

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Note that Jacob makes sure that the flute part by providing staccato markings, with only the oboes accompanying (Figure 5.5).

Figure 5.5: Serenade for Woodwind, movement 3, measures 1-4

The first section is divided into two and four bar phrases. The dynamic level remains piano throughout. The consecutive eighth notes are contrasted by the marcato half notes, which

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offer a brief surprise rhythmically. The use of chromatics and repetition keep the music moving forward, even though the duration of this section is only eight bars. Jacob also utilizes changes in texture by alternating groups of instruments from six to three, and vice versa. The second section is developmental. The first change comes with the solo and accompaniment format from the first section now becoming tutti. In addition, while staccatos are still used, slurs are added to create a quick sigh motive. The use of chromatics also changes, adding variety to the melodic line, and helping to transition from one key area to the next. While these elements have been altered, others such as the light feeling and the focus on the strong beats remain unchanged. In addition, this section features some of the highest bassoon writing used so far. Lastly, the dynamic contrast is great, with all of the markings used being either piano or forte. There is a short transition section with a dominant pedal before leading back to the opening of the movement. The bassoons and horns hold the tonic chord in the key of B-flat major ending the movement. The Interlude (incantation), written in thorough-composed form, poses a multitude of challenges for both the conductor and performers. First, the opening intervals between flutes and bassoons are perfect fifths in octaves (Figure 5.6). In contrast to the opening of the previous movements, this creates quite an interesting color. In order to shape the chromatic neighbor-note motion that embellishes the perfect-fifths, a diminuendo to their resolution in each measure is recommended. Another problem occurs with the first entrance of the main melodic line. The instruments playing this melody are the oboe and English horn in octaves. Here, again, the pitch and balance must be exact, with no room for error.

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Figure 5.6: Serenade for Woodwind, movement 4, measures 1-4

This next section begins in a similar fashion to the first, with the flutes and bassoons playing the previously mentioned fifths, and the oboe and English horn playing the octaves (Figure 5.7). This time, however, the dynamic level has been raised up to forte, accompanied by a con forza (with force) marking. The first triplets now appear, used as both perpetual motion and in sequence to ratchet up the intensity even further. Then, without any warning or preparation, Jacob switches the oboe and English horn melody with the flute and bassoon accompaniment. In addition, Jacob starts the main theme on beat two instead of beat one. This all leads to the clarinet duet cadenza, which eventually moves to the last brief section of the movement.

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Figure 5.7: Serenade for Woodwind, movement 4, measures 16-18

The last section features a general winding down of texture and dynamics. While the thirty-second note concept remains, the main theme gradually becomes softer and softer, until disappearing completely. The last notes played at the end are the same ones that began the work; perfect fifth intervals in the flutes and bassoons played in octaves. Note: the English horn changes back to oboe for the next movement. The Toccatina, written in rounded-binary form with a codetta, begins with the flutes establishing the tempo by perpetual motion. While the first flute playing running sixteenths, the second plays primarily eighth notes (Figure 5.8). The addition of an A-flat distorts the opening key if D minor. The sixteenth note motion continues through the remainder of this part of the movement.

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Figure 5.8: Serenade for Woodwind, movement 5, measures 1-5

Without preparation, the bassoons begin with the second theme. This theme, identified by two staccato eighth notes followed by a sforzando quarter note, takes over as the main voice (Figure 5.9).

Figure 5.9: Serenade for Woodwind, movement 5, measures 26-31

After a return of the opening material originally heard in the bassoons, the first oboe takes over playing the second theme. The varied repetitions of the opening martial remain, and are passed around the ensemble. The flutes and oboes dovetail fragmented segments of the opening flute theme. In addition, the perpetual sixteenths are passed between instruments, helping to maintain a steady beat and pulse This transition is identified by a change in key (D minor to E-flat major), fragmented thematic material, and the gradual build in dynamics. The texture, while before using primarily

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pairs of instruments trading off lines, now uses instruments in groups three or four. The most notable moment occurs towards the end, as the oboes are the primary voice, but are a half step apart. This moment, along with a descending chromatic line in the second flute, creates a great deal of dissonance and unrest both melodically and harmonically. The second section is a repeat of the first, with the themes and ideas being fragmented, rearranged, and developed in different ways. Leading up to the codetta, the music continues moving forward, losing no energy along the way. The codetta begins with ostinato eighth notes in the clarinets and bassoons, while the upper voices continue to provide alternating perpetual motion. A sudden flourish in all of the instruments leads to a tutti fortissimo section, the only time in the movement all of the instruments play together. Immediately after an abrupt change in dynamics, texture, and key occur, along with the last fleeting statement of the opening theme in the flute. The Sarabande, written in a ternary form, follows the procedures of a concerto grosso. This format involves one group of voices, in this case the flutes, alternating between a solo and accompaniment role. The movement begins with the entire ensemble except for the flutes playing the main theme (Figure 5.10). The phrasing is irregular, consisting of five bars. In addition, the use of numerous chromatics and shifting harmonies place the focus on modes instead of keys. The chant quality, use of modes, and the homophonic texture all help to create a full and rich ensemble texture. Pairs of instruments have consonant intervals, consisting of thirds and sixths, which become fourths and fifths towards the end of the phrase.

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Figure 5.10: Serenade for Woodwind, movement 6, measures 1-5

After a modified repetition of the opening theme the texture, feeling, and motion of the music change drastically. First, Jacob switches the instrumentation, now using only two flutes, the same ones left out of the opening of the movement. This adding of voices to reinforce the solo(s) maximizes the concerto grosso effect of solo/ritornello alternation. The flutes continue in the form of a duet, with the first flute acting as the principal voice and the second as accompaniment (Figure 5.11). There are moments, however, where the roles are exchanged, and there is a great deal of give and take with regards to the solo material. In addition, the concept of perpetual motion returns, as eighth or quarter note lines can be found throughout.

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Figure 5.11: Serenade for Woodwind, movement 6, measures 12-17

The second part of the movement is almost a mirror image of the first. After an introduction of the opening material by the ensemble, the flutes take over and remain the solo voice until the rest of the ensemble returns. A few differences for the ensemble from the first section are more independent voices, expanded harmony, and surprise brief modulations to other keys. In addition, there is much more dynamic contrast and variety compared to the first statement. The same can be said for the solo flutes, with the addition of more chromatics, and most notably trills. The last section brings back the opening statement, but this time the flutes are included. While the chords stay the same, the voicing changes. For example, in the bassoon part, the second bassoon plays the opening note an octave lower, while the first plays the fifth of the chord instead of the third. Another important point is the dynamics, or in this case, the lack thereof. The only two dynamic markings come at the beginning and end of this section. The first signifying the implied key of g minor and the second the implied key of g major. The Scherzo is written in much the same fashion as the toccatina. This includes the use of shifting keys, perpetual motions, and ostinatos. The principal difference is that there is a slow section that functions as a bridge between the two larger sections of the movement (Figure 5.12). 84

The same concepts of perpetual motion and contrasting themes return, as well as alternating between solos and groups of solos. Of particular note are the many different articulations used throughout the movement. In addition, these articulations are often shifted or altered in some way, creating subtle but important differences in the overall sound. Once again, a unison crescendo leads to a tutti section, which serves as the climax. After a contrasting slower area the opening section returns, followed by the return of the opening material which then closes the movement. There are several key features that make this movement unique. First, the sense of a steady beat and pulse can only be found only momentarily. The combination of short themes with constantly shifting accents creates an unsteady feeling. In addition, the use of overlapping themes from one bar to the next, often ending abruptly, creates a lack of continuity. Jacob also uses this movement to bring back some of the themes used in the previous movements. Lastly, the sense of key is never firmly stated or established, only being confirmed at the end of the movement (G major).

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Figure 5.12: Serenade for Woodwind, movement 7, measures 88-91

The Epilogue is written in much the same fashion as both the Arietta and the Interlude. This includes solo melody and accompaniment texture, flowing melodic lines, and fleeting climaxes (Figure 5.13). The principal differences involve changes in key, dynamic levels, texture and feeling. With regards to key, unrelated keys are moved to and from abruptly without preparation. The use of holds creates a smooth texture that helps with the transition from one key to the next. The dynamics never go beyond a mezzo-forte, as opposed to the fortissimos in the interlude. The texture is purely melody and accompaniment. The work ends on a B-flat major chord.

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Figure 5.13: Serenade for Woodwind, movement 7, measures 10-13

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CONCLUSION

Divertimento in E-flat, Three Elizabethan Fancies, and Serenade for Woodwind show Gordon Jacob as a composer of great mastery and skill who contributed a great deal to the genre of chamber music for wind instruments. Each piece shows that Jacob used all of his ability as an arranger and composer to write works that used wind instruments in both effective and idiomatic ways. While this study has focused on Jacob‟s works for wind octet, there are numerous other works showing that Jacob was comfortable composing for various types of wind instruments in any configuration. Jacob‟s life shows how he developed his facility in composing for wind instruments. His time at the Royal College of Music allowed him to both hear and compose original works for wind instruments. In addition, when Jacob became a professor at the Royal College of Music, he encouraged his students to do the same. This included always considering an instrumental medium before composing any piece of music. Lastly, his time spent as a prisoner of war allowed him to focus all of his time and energy writing chamber music. Jacob‟s texts offer valuable insight into his practical knowledge of wind instruments. His intimate knowledge allowed him to be completely comfortable with each instruments strengths and weaknesses. In addition, Jacob understood how instruments worked in pairs in both similar and dissimilar combinations. Lastly, Jacob understood how these orchestrational skills could be used to compose works for any number of instruments in any given combination. Jacob‟s wind octets also show that he had fondness for composing works for woodwind instruments. While the French horns are included in two of the works, all of the octets feature woodwind instruments. In addition, each work utilizes woodwind instruments in a way that is both idiomatic and challenging for every player. it is the author‟s opinion each work could have an important role in the ongoing development of the repertory of chamber music for wind instruments. The classical composers wrote a number of divertimenti, serenades, etc. for wind instruments but with the advent of the romantics this practice died out. In modern times the great proficiency and musicianship which have developed among wind players, owing to the ever-increasing demands made upon them by composers of orchestral music, has attracted composers to writing works for small combinations of such instruments.121

121 Gordon Jacob, The Composer and His Art (London:Oxford University, 1955), p.47. 88

BIBLIOGRAPHY

Addison, John. “The Retirement Gordon Jacob.” Royal College of Music Magazine 50 (1954): p.78-79.

Baron, John Herschel. Intimate Music: a history of the idea of chamber music. New York: Pendragon Press, 1998.

Beebe, Jon P. Music for Unaccompanied Bassoon: an annotated bibliography. Jefferson, N.C: McFarland, 1990.

Briggs, Asa. English Musical Culture. Cincinnati, Ohio: University Publications, 1977.

Berry, Wallace. Form in Music. Englewood Cliffs, N.J: Prentice-Hall, 1986.

Bonavia, Ferruccio. “Compositions of Gordon Jacob.” The Musical Times 72 (1931): p.1131.

Caldwell, John. The Oxford History of English Music, volume 2. New York: Oxford University Press, 1999.

Cannon, Philip. “Gordon Jacob: 70th Birthday Tribute.” Composer 17 (1965): p. 32.

Chapman, E. “Gordon Jacob Celebration.” Musical Events 20 (1975): p.24-25.

Chappell, William, revised by H. Ellis Wooldridge. Old English Popular Music. London: Chappell, 1893.

Cooper, Grovenor W. and Meyer, Leonard B. The Rhythmic Structure of Music. Chicago, IL: The University of Chicago Press, 1960.

Cumming, Robert. “Gordon Jacob.” Music Journal Annual 30 (1972): p.42.

Dale, Benjemin, Jacob, Gordon, and Anson, Hugo. Harmony, Counterpoint, and Improvisation. London: Novello Publishing.

De Stwolinski, Gail. Form and Context in Instrumental Music. Dubuque: W.C. Brown, 1977.

Dunhill, Thomas F. Chamber Music. London: MacMillan, 1913.

Dunhill, Thomas F. “British Chamber Music,” found in Cobbett’s Cyclopedic Survey of Chamber Music, volume I. London: Oxford University Press, 1929.

Emerson, June. Wind Music of Gordon Jacob. York, England: Westminster Press, 1976.

Ewen, David. “Gordon Jacob 1895 -.” European Composers Today.

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New York: H.W. Wilson, 1954.

Ewen, David. Living Musicians. New York: H.W. Wilson, 1940.

Fairly, E. Lee. “Gordon Jacob.” M.L.A. Notes 15 (1958): p.257-258.

Fennell, Fredrick. Time and the Winds. Kenosha, W.I: Leblanc Publications, 1954.

Fiske, Roger. Chamber Music. London: British Broadcasting Company, 1969.

Forsyth, Cecil. Orchestration. New York: Dover, 1982.

Forte, Allen. Tonal Harmony in Concept and Practice. New York: Holt, Rinehart and Winston, 1962.

Foss, Hubert James. “Gordon Jacob.” The Music Review 5 (1944): p.271-272.

Gibbin, Leonard Douglas. The Music Traders Guide to Works by Twentieth Century British Composers. London: Boosey and Hawkes, 1956.

Gillespie, James E. The Reed Trio: an annotated bibliography of original published works. Detroit: Information Coordinators, 1971.

Griffiths, Paul. “Jacob, Gordon.” The Oxford Companion to Music (accessed March 4, 2009)

Hall, Louis. “A Stylistic and Performance Analysis of Selected Oboe Works of Gordon Jacob.” D.M. Dissertation, University of Illinois, 1979.

Hanna, Steven Russell. Analysis and Performance of Music for Unaccompanied Bassoon by Malcolm Arnold, Gordon Jacob, Willson Osborne, George Perle, and Vincent Persichetti. Ann Arbor, MI: University Microfilms, 1993.

Harvey, Paul. “The Woodwind Music of Gordon Jacob.” Woodwind 13 (1974): p.14-15.

Holford. Franz. “Gordon Jacob.” The Canon, Australian Journal of Music 4 (1950): p.260-261.

Howes, Frank. “Compositions of Gordon Jacob.” The Musical Times 72 (1931): p.1130-1131.

Howes, Frank. The English Musical Renaissance. New York: Stein and Day, 1966.

Hyatt, Margret Jacob. http://www.gordonjacob.org

Jacob, Archibald. Musical Handwriting. London: Oxford University Press, 1947.

Jacob, Gordon. “Arnold Schoenberg 1874-1951.” Music and Letters 32 (1951): p.312-314.

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Jacob, Gordon. “Personal View No. 5.” Royal College of Music Magazine 61 (1965): p.71.

Jacob, Gordon. “Schoenberg and Brahms op. 25.” Music and Letters 32 (1951): p.252-255

Jacob, Gordon. The Elements of Orchestration. New York: October House, 1965.

Jacob, Gordon. The Composer and His Art. London: Oxford University Press, 1955.

Jacob, Gordon. How to Read a Score. London: Boosey and Hawkes, 1944.

Jacob, Gordon. Orchestral Technique. London: Oxford University Press, 1980.

LaRue, Jan. Guidelines for Style Analysis. New York: W.W. Norton, 1970.

Lee, Walter Fulford. Analysis of Selected Compositions by Gordon Jacob for Solo Oboe. Ann Arbor, MI: University Microfilms, 1978.

Mason, Colin. “Chamber Music in Britain since 1929,” found in Cobbett’s Cyclopedic Survey of Chamber Music, volume III. London: Oxford University Press, 1963.

Meyer, Ernst H. English Camber Music: the history of a great art. London: Lawrence and Wishart, 1946.

Naylor. E.W. An Elizabethan Virginal Book. London: J.M. Dent, 1905.

Ogram, Geoff. Gordon Jacob. http://musicweb-international.com/classRev/2004/Feb04/Gordon_Jacob.htm

Palmer, Cecil. Contemporary British Composers. Edinborough: Riverside Press, 1975.

Palmer, Russell. British Music. St. Clair Shores: Scholarly Press, 1948.

Pusey, Robert. “Oboe and English Horn Works of Gordon Jacob.” The Double Reed 4.3 http://www.idrs.org/publications/DR/DR4.3/jacob.html

Rangel-Ribeiro, Victor and Markel, Robert. Chamber Music: An International Guide to works and Their Instrumentation. New York: Markel Enterprises, 1993.

Rasmussen, Mary and Mattran, Donald. A Teachers Guide to the Literature of Woodwind Instruments. Milford, N.H: The Cabinet Press, 1966.

Reynish, Timothy. Gordon Jacob in Conversation. http://www.timreynish.com/repcompjacob.html

Scott, Marion Margret. “The Younger Composers.” The Monthly Musical Record (August 1929): 223-228.

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Tyndall, Robert. Musical Forms. Boston: Allyn and Bacon, 1964.

Weeks, Clarence L. Gordon Jacob’s William Byrd Suite: a corrected edition. Arbor, MI: University Microfilms, 1997.

Weisberg, Arthur. The Art of Wind Playing. London: Macmillan, 1975.

Wells, Harrison W. “Some Notable British Music.” The Musical Standard 8 (1916): p.193.

Wetherell, Eric. Gordon Jacob: a centenary biography. London: Thames Publishing, 1995.

Wetherell, Eric. “Jacob, Gordon.” Grove Music Online (accessed March 4, 2009)

Whiston, Alan. Gordon Jacob: a biographical sketch and analysis of four selected works for band. Ann Arbor, MI: University Microfilms, 1987.

Whitwell, David. A New History of Wind Music. Evanston, I.L.: The Instrumentalist Company, 1972

Winther, Rodney. An Annotated Guide to Wind Chamber Music for Six to Eighteen Players. Florida: Warner Brothers, 2004.

SCORES

Jacob, Gordon. Divertimento in E-flat. Wiesbaden: Breitkopt and Härtel, 2000.

Jacob, Gordon. Old Wine in New Bottles. England: Oxford University Press, 1960.

Jacob, Gordon. More Old Wine in New Bottles. England: Emerson, 1981.

Jacob, Gordon. Serenade for Woodwind. England: Boosey and Hawkes, 1953.

Jacob, Gordon. Sextet. Wiesbaden: Breitkopt and Härtel, 2000.

Jacob, Gordon. Three Elizabethan Fancies. England: Emerson, 1979.

Jacob, Gordon, Wind Quintet No.1. England: Emerson, 1988.

Jacob, Gordon. Wind Quintet No.2. Wiesbaden: Breitkopt and Härtel, 2000.

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BIOGRAPHICAL SKETCH

Matthew William Fay received his Bachelor of Arts in music education at the University of South Florida (Tampa) in 2003 and a Master of Music (2006) from Florida State University (Tallahassee). Mr. Fay‟s other academic accomplishments include membership in three honors societies: Phi Kappa Lambda (Music), Phi Kappa Phi (General), and Golden Key (National). In addition, Mr. Fay has been a Provost Scholar, Honors Convocation recipient, and a multiple time member of the Dean‟s List. Mr. Fay is currently the second bassoon of the Northwest Florida Symphony and second bassoonist of the Sinfonia Gulf Coast. He has also been principal bassoonist of the Panama City Pops, and the instrumental soloist for the Pulitzer Prize and Tony Award winning musical Fiorello at Theatre Works in Sarasota, Florida. He was also a featured soloist for the Marianna (Florida) concert series, and principal bassoon for a performance of Igor Stravinsky‟s Octet for Wind Instruments (1923) at Alabama State University. In addition to his academic and performing duties, Mr. Fay teaches bassoon at Destin Middle School, Fort Walton Beach High School, Brunner Middle School, and Crestview High School. His other areas of interest include the study of chamber music for woodwind instruments, specifically harmoniemusik.

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