20Th-Century Repertory
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Boosey & Hawkes
City Research Online City, University of London Institutional Repository Citation: Howell, Jocelyn (2016). Boosey & Hawkes: The rise and fall of a wind instrument manufacturing empire. (Unpublished Doctoral thesis, City, University of London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/16081/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Boosey & Hawkes: The Rise and Fall of a Wind Instrument Manufacturing Empire Jocelyn Howell PhD in Music City University London, Department of Music July 2016 Volume 1 of 2 1 Table of Contents Table of Contents .................................................................................................................................... 2 Table of Figures...................................................................................................................................... -
The Canadian Clarinet Works Written for James Campbell
THE CANADIAN CLARINET WORKS WRITTEN FOR JAMES CAMPBELL by Laura Chalmers Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University December 2020 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree, Doctor of Music Doctoral Committee __________________________________________ Eli Eban, Research Director and Chair __________________________________________ James Campbell __________________________________________ Kathleen McLean __________________________________________ Peter Miksza September 29, 2020 ii Acknowledgements I would like to express my gratitude to the following people, without whom this document would not have been completed: To Prof. Campbell, Allan Gilliland, Phil Nimmons, Timothy Corlis, and Jodi Baker Contin, who gave their time and shared their recollections with me. To my wonderful friends, Emory Rosenow, Laura Kellogg, Mark Wallace, and Lilly Haley- Corbin, who not only read through this entire document to correct mistakes, but who also encouraged me and bolstered me as I wrote this paper. To my family, Mom, Marcus, and Leisha, who have always supported me and continue to do so through my Doctorate. Finally, to my husband, Jacob Darrow. This is as much his success as it is mine. iii Table of Contents Acknowledgements .................................................................................................................................... -
Five Late Baroque Works for String Instruments Transcribed for Clarinet and Piano
Five Late Baroque Works for String Instruments Transcribed for Clarinet and Piano A Performance Edition with Commentary D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of the The Ohio State University By Antoine Terrell Clark, M. M. Music Graduate Program The Ohio State University 2009 Document Committee: Approved By James Pyne, Co-Advisor ______________________ Co-Advisor Lois Rosow, Co-Advisor ______________________ Paul Robinson Co-Advisor Copyright by Antoine Terrell Clark 2009 Abstract Late Baroque works for string instruments are presented in performing editions for clarinet and piano: Giuseppe Tartini, Sonata in G Minor for Violin, and Violoncello or Harpsichord, op.1, no. 10, “Didone abbandonata”; Georg Philipp Telemann, Sonata in G Minor for Violin and Harpsichord, Twv 41:g1, and Sonata in D Major for Solo Viola da Gamba, Twv 40:1; Marin Marais, Les Folies d’ Espagne from Pièces de viole , Book 2; and Johann Sebastian Bach, Violoncello Suite No.1, BWV 1007. Understanding the capabilities of the string instruments is essential for sensitively translating the music to a clarinet idiom. Transcription issues confronted in creating this edition include matters of performance practice, range, notational inconsistencies in the sources, and instrumental idiom. ii Acknowledgements Special thanks is given to the following people for their assistance with my document: my doctoral committee members, Professors James Pyne, whose excellent clarinet instruction and knowledge enhanced my performance and interpretation of these works; Lois Rosow, whose patience, knowledge, and editorial wonders guided me in the creation of this document; and Paul Robinson and Robert Sorton, for helpful conversations about baroque music; Professor Kia-Hui Tan, for providing insight into baroque violin performance practice; David F. -
Instructions for Authors
Journal of Science and Arts Supplement at No. 2(13), pp. 157-161, 2010 THE CLARINET IN THE CHAMBER MUSIC OF THE 20TH CENTURY FELIX CONSTANTIN GOLDBACH Valahia University of Targoviste, Faculty of Science and Arts, Arts Department, 130024, Targoviste, Romania Abstract. The beginning of the 20th century lay under the sign of the economic crises, caused by the great World Wars. Along with them came state reorganizations and political divisions. The most cruel realism, of the unimaginable disasters, culminating with the nuclear bombs, replaced, to a significant extent, the European romanticism and affected the cultural environment, modifying viewpoints, ideals, spiritual and philosophical values, artistic domains. The art of the sounds developed, being supported as well by the multiple possibilities of recording and world distribution, generated by the inventions of this epoch, an excessively technical one, the most important ones being the cinema, the radio, the television and the recordings – electronic or on tape – of the creations and interpretations. Keywords: chamber music of the 20th century, musical styles, cultural tradition. 1. INTRODUCTION Despite all the vicissitudes, music continued to ennoble the human souls. The study of the instruments’ construction features, of the concert halls, the investigation of the sound and the quality of the recordings supported the formation of a series of high-quality performers and the attainment of high performance levels. The international contests organized on instruments led to a selection of the values of the interpretative art. So, the exceptional professional players are no longer rarities. 2. DISCUSSIONS The economic development of the United States of America after the two World Wars, the cultural continuity in countries with tradition, such as England and France, the fast restoration of the West European states, including Germany, represented conditions that allowed the flourishing of musical education. -
Závěrečné Práce
JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Katedra dechových nástrojů Hra na klarinet Umělec pedagog Charles Neidich a jeho vliv na vývoj americké klarinetové školy Diplomová práce Autor práce: Jakub Hrdlička Vedoucí práce: doc. Milan Polák Oponent práce: doc. Vít Spilka Brno 2015 Bibliografický záznam HRDLIČKA, Jakub. Umělec a pedagog Charles Neidich a jeho vliv na vývoj americké klarinetové školy [Artist educator Charles Neidich and his influence on the American Clarinet school] Brno: Janáčkova akademie múzických umění v Brně, Hudební fakulta, Katedra dechových nástrojů, 2015 doc. Milan Polák s. [69] Anotace Diplomová práce Umělec a pedagog Charles Neidich a jeho vliv na vývoj americké klarinetové školy pojednává o osobnosti Charlese Neidicha. Práce je rozdělena do několika částí, ve kterých se zaměřuji na americkou klarinetovou školu, Ch. N. jako umělce a pedagoga a v další fázi analýzu a popis jeho metodiky a rozhovor s nejúspěšnějšími žáky. Annotation Diploma thesis „Artist educator Charles Neidich and his influence on the American Clarinet school” deals with personality of Charles Neidich. The work is divided into several sections in which I focus on American Clarinet school, Ch. N. as an artist and educator and in the next phase analyze and description of his pedagogical methods and interview with the most renowned students. Klíčová slova Americká klarinetová škola, Charles Neidich, umělec, pedagog Keywords American clarinet school, Charles Neidich, artist, educator Prohlášení Prohlašuji, že jsem předkládanou práci zpracoval samostatně a použil jen uvedené prameny a literaturu. Jakub Hrdlička V Brně dne 14. 8. 2015 Poděkování Na tomto místě bych rád poděkoval docentu Milanu Polákovi za laskavou spolupráci při tvorbě této práce a také umělcům Mate Bekavac, Sharon Kam, Kari Kriikku za poskytnutí rozhovorů. -
Lincoln Friends of Chamber Music
Lincoln Friends of Chamber Music 1965 - 2005 The First Forty Seasons Lincoln Friends of Chamber Music COMPLETE PROGRAMS 1965 - 2005 Compiled by Audun Ravnan Contents The Concerts ................................................................................................1 The Ensembles............................................................................................32 The Compositions ......................................................................................37 The Statistics...............................................................................................56 -ii- The Concerts The Concerts November 12, 1965 Amadeus Quartet Mozart Quartet in C Major, K. 465 Bartók Quartet No. 4 Brahms Quartet in A Minor, Opus 51, No. 2 February 3, 1966 Prague Quartet Beethoven Quartet in C Minor, Opus 18, No. 4 Hindemith Quartet No. 3, Opus 22 Dvoˇrák Quartet in F Major, Opus 96 (“American”) March 18, 1966 Lincoln Chamber Players Mozart Divertimento No. 4, K. 229 Beethoven Septet in E-flat Major, Opus 20 Martinu˚ Three Madrigals for Violin and Viola Webern Quartet, Opus 22 (1930) Stravinsky Septet (1953) April 22, 1966 Tipton Trio Rameau Suite in A Major for Flute, Piano and Cello Sammartini Sonata in G Major for Cello and Piano C.P.E. Bach Sonata in C Major for Flute and Piano Martinu˚ Trio for Flute, Cello and Piano Rachmaninoff Three Preludes, Opus 23, Nos. 6, 7, and 5 Villa Lobos Jet Whistle for Flute and Cello Damase Sonate en Concert for Flute, Cello and Piano October 28, 1966 Drolc Quartet Haydn Quartet in F Major, Opus 77, No. 2 Ravel Quartet in F Major Schubert Quartet in D Minor, D. 810 (“Death and the Maiden”) December 9, 1966 Lincoln Chamber Players Quantz Trio Sonata in C Minor Dvoˇrák Terzetto, Opus 74, for Two Violins and Viola Etler Allegro Molto from the Sextet (1959) Martinu˚ Rondi Saint-Saëns Septet, Opus 65, for Trumpet, Piano and Strings -1- The Concerts February 10, 1967 Juilliard String Quartet Schumann Quartet in A Minor, Opus 41, No. -
Clarinet Syllabus / 2013 Edition
Clarinet SYLLABUS EDITION Message from the President The Royal Conservatory of Music was founded in 1886 with the idea that a single institution could bind the people of a nation together with the common thread of shared musical experience. More than a century later, we continue to build and expand on this vision. Today, The Royal Conservatory is recognized in communities across North America for outstanding service to students, teachers, and parents, as well as strict adherence to high academic standards through a variety of activities—teaching, examining, publishing, research, and community outreach. Our students and teachers benefit from a curriculum based on more than 125 years of commitment to the highest pedagogical objectives. The strength of the curriculum is reinforced by the distinguished College of Examiners—a group of fine musicians and teachers who have been carefully selected from across Canada, the United States, and abroad for their demonstrated skill and professionalism. A rigorous examiner apprenticeship program, combined with regular evaluation procedures, ensures consistency and an examination experience of the highest quality for candidates. As you pursue your studies or teach others, you become not only an important partner with The Royal Conservatory in the development of creativity, discipline, and goal- setting, but also an active participant, experiencing the transcendent qualities of music itself. In a society where our day-to-day lives can become rote and routine, the human need to find self-fulfillment and to engage in creative activity has never been more necessary. The Royal Conservatory will continue to be an active partner and supporter in your musical journey of self-expression and self-discovery. -
Downloads/Newsletters/July August 2004.Pdf#Search= 'William%20Gasbarro%20Clarinet (Accessed February 25, 2011)
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 A Biographical Dictionary of Twentieth- Century American Clarinetists Tracey Lynn Paddock Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC A BIOGRAPHICAL DICTIONARY OF TWENTIETH-CENTURY AMERICAN CLARINETISTS By TRACEY LYNN PADDOCK A treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2011 The members of the committee approve the Treatise of Tracey L. Paddock defended on March 28, 2011. _________________________________ Frank Kowalsky Professor Directing Treatise _________________________________ Richard Clary University Representative _________________________________ Deborah Bish Committee Member _________________________________ Jeff Keesecker Committee Member The Graduate School has verified and approved the above-named committee members. ii To my husband Grant, who has stood by my side in the face of this and many other challenges, and to my parents, teachers, and friends, who have supported me generously and tirelessly. iii ACKNOWLEDGEMENTS I would like to acknowledge all of the teachers and mentors who have helped me on my musical, educational, and life path. To James Campbell, thank you for providing me with a strong musical foundation, and musical and philosophical inspiration which will last a lifetime, and which I try to pass on to my own students. To former committee member Eric Ohlsson, thank you for setting the comprehensive exam question that led me to this treatise. To former committee member John Deal, thank you for urging me to make the treatise “comprehensive.” To Howard Klug, thank you for your invaluable guidance at the onset of this journey. -
Avrahm Galper's Influence on Clarinet Pedagogy
Avrahm Galper’s Influence on Clarinet Pedagogy by Jessica Carling Tse A thesis submitted in conformity with the requirements for the degree of Doctor of Musical Arts Faculty of Music University of Toronto © Copyright by Jessica Carling Tse 2018 Avrahm Galper’s Influence on Clarinet Pedagogy Jessica Carling Tse Doctor of Musical Arts Faculty of Music University of Toronto 2018 Abstract The purpose of this study is to explore the pedagogical method and approach of clarinetist Avrahm Galper (1921-2004), the former principal clarinetist of the Toronto Symphony Orchestra and author of clarinet method and study books. Galper was an esteemed pedagogue with numerous students who are members of professional orchestras, faculty members at distinguished institutions across Canada and the United States of America, and innovators in the music field. This study strives to answer this question: How has Avrahm Galper influenced and contributed to the field of clarinet pedagogy as a teacher? An examination of his teaching provides insight on the impact private instructors can have on students as individuals and on his impact on the clarinet community. This is a case study of the individual practice of a significant figure in the development of music education in Canada. The study includes an overview of Avrahm Galper’s pedagogical methods based on his own published materials in conjunction with the interviews with his students. A literature review of standard clarinet repertoire and pedagogical materials provides the foundation to this study. Through the transcription and analysis of semi-structured interviews, the documentation reveals the unique personal relationship between teacher and student. -
Download Booklet
Acknowledgments Recording and Production by Five/Four Productions, Shaker Heights, Ohio Producer: Thomas Moore Engineers: Robert Friedrich (Wiley, Debussy (Four Songs), Stout, Montbrun, Mozart) and Michael Bishop (Debussy (Prélude), Griebling, Kennan) A Clarinet Recorded at Ludwig Recital Hall, Kent State University, March 24: Wiley, Stout, and Debussy (Four Songs); May 16: Gallois Montbrun, Mozart; and August 4: Debussy (Prélude), Griebling, Kennan Photographer: David Foster Piano Technician: Blaine Veseley Collective publishers Raymond Gallois Montbrun | Alphonse Leduc/Robert King, Inc. Frank Wiley | Frank Wiley, publisher([email protected]) Dennis Nygren, clarinet Alan Stout | Alan Stout, publisher Mary Ann Griebling | Musicalligraphics (www.musicalligraphics.com) Claude Debussy (Prélude) | Gérard Billaudot, publisher Claude Debussy (Four Songs) | Black Squirrel Music, Inc., publisher Kent Kennan | Theodore Presser, publisher W.A. Mozart | Dennis Nygren, publisher ([email protected]) www.albanyrecords.com Works by TROY1330 albany records u.s. 915 broadway, albany, ny 12207 tel: 518.436.8814 fax: 518.436.0643 raymond Gallois Montbrun | Frank Wiley | Alan stout albany records u.k. box 137, kendal, cumbria la8 0xd Mary Ann Griebling | Claude Debussy | kent kennan | W.A. Mozart tel: 01539 824008 © 2012 albany records made in the usa ddd waRning: cOpyrighT subsisTs in all Recordings issued undeR This label. Jerry Wong, piano | Aiden string Quartet | Wayne Gorder, conductor The Music Frank wiley studied composition with Donald Erb and Roger Hannay. He attended the University of North Carolina at Chapel Hill, where he received a Bachelor of Music degree in organ performance Greater pleasure cannot be awarded a performer than the opportunity to introduce new music to the and a Master of Music degree in composition. -
The Works for Clarinet Commissioned by the Concours
THE WORKS FOR CLARINET COMMISSIONED BY THE CONCOURS INTERNATIONAL D’EXÉCUTION MUSICALE DE GENÈVE: A CRITICAL SURVEY AND PERFORMANCE GUIDE Anthony Joseph Allgeier III, B.A., M.M. Dissertation Prepared for the Degree DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2010 APPROVED: James Gillespie, Major Professor Donna Emmanuel, Minor Professor John Scott, Committee Member Terri Sundberg, Chair of the Division of Instrumental Studies Graham Phipps, Director of Graduate Studies for the College of Music James C. Scott, Dean of the College of Music James D. Meernik, Acting Dean of the Robert B. Toulouse School of Graduate Studies Allgeier III, Anthony Joseph, The Works for Clarinet Commissioned by the Concours International d’Exécution Musicale de Genève: A Critical Survey and Performance Guide. Doctor of Musical Arts (Performance), August 2010, 99 pp., 52 illustrations, bibliography, 59 titles. Beginning in 1939, the Concours International d’Exécution Musicale de Genève (CIEM; Geneva International Music Competition) is unique among international music competitions in its multidisciplinary approach. To date, fifteen works have been commissioned for clarinet for the years in which the clarinet was involved. The most well-known of these works is the unaccompanied work by Heinrich Sutermeister, Capriccio for Solo Clarinet in A, written in 1946 for the 1947 competition. This work is a staple in the unaccompanied clarinet repertoire. However, the other fourteen works commissioned for the competition are little known and to date no document has been prepared that examines each of these works in the context of the competition and clarinet literature. While perhaps less notable, works were also commissioned for a sight reading portion of the competition for many of the years in which the clarinet was a discipline chosen for the competition, two of which were published. -
A Selective Annotated Bibliography of Transcriptions for the Solo Clarinet and Clarinet with Piano Joan E
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 Reexamining the Standard Clarinet Repertoire: A Selective Annotated Bibliography of Transcriptions for the Solo Clarinet and Clarinet with Piano Joan E. Van Dessel Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC REEXAMINING THE STANDARD CLARINET REPERTOIRE: A SELECTIVE ANNOTATED BIBLIOGRAPHY OF TRANSCRIPTIONS FOR THE SOLO CLARINET AND CLARINET WITH PIANO By JOAN E. VAN DESSEL A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2006 The members of the Committee approve the treatise of Joan E. Van Dessel defended on February 28, 2006. ______________________________ Frank Kowalsky Professor Directing Treatise ______________________________ Denise Von Glahn Outside Committee Member ______________________________ Eva Amsler Committee Member ______________________________ Eric Ohlsson Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii This treatise is dedicated to Peter Van Dessel, Kathleen Van Dessel, Kate Gordon, Scott Gordon, and Jim Decke for their patience and support. iii ACKNOWLEDGEMENTS The completion of this treatise was made possible with assistance from the following individuals and organizations: Dr. Frank Kowalsky, the professor directing my treatise My