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Brass Quintet Literature of Thom Ritter George

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Brass Quintet Literature of Thom Ritter George A GUIDE FOR THE PREPARATION, ANALYSIS AND PERFORMANCE OF THE BRASS QUINTET LITERATURE OF THOM RITTER GEORGE, WITH THREE RECITALS OF SELECTED WORKS BY BACH, BITSCH, HANDEL, TORELLI, SUDERBERG, KETTING AND OTHERS William J. Stowman, B.S., M.A., M.M.E. APPROVED: Major Professop Minor Pro s or Committee Member Dean of the Co ege of Music Dean of the Robert B. Toulouse School of Graduate Studies A GUIDE FOR THE PREPARATION, ANALYSIS AND PERFORMANCE OF THE BRASS QUINTET LITERATURE OF THOM RITTER GEORGE, WITH THREE RECITALS OF SELECTED WORKS BY BACH, BITSCH, HANDEL, TORELLI, SUDERBERG, KETTING AND OTHERS DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS By William J. Stowman, B.S., M.A., MME. Denton, Texas May, 1998 Stowman, William J. A Guide for the Preparation. Analysis. and Performance of the Brass Quintet Literature of Thom Ritter George. Doctor of Musical Arts (Performance), May, 1998, 72 pp., 52 bibliography. An examination of the musical style, compositional techniques and performance practice issues of American Composer Thom Ritter George with special attention paid to his Quintet No. 4 written in 1986. The document also includes a short history of brass instruments in chamber music, history of the brass quintet in America, discussion of the role of the trumpet in the quintet, overview of the composers contributions to music and brass quintet, and background information on the composer. A detailed analysis of Quintet No. 4 is provided. Issues of performance practice are discussed through theoretical analysis and in interviews with the composer. Thom Ritter George (b. 1942) received his Bachelors Degree and Master of Music Degree at the Eastman School of Music and holds the Doctor of Musical Arts Degree from The Catholic University of America. He has served as composer and arranger for the United States Navy Band in Washington, D.C. and as the Music Director and Conductor of the Quincy, Illinois Symphony Orchestra. Currently, he is Music Director and Conductor of the Idaho State Civic Symphony and Professor of Music at Idaho State University. He has written over 300 works ranging from simple songs to large symphonic compositions. His interest in writing for brass instruments dates from the early 1960's, the period of his association with the great trombone teacher, Emory Remington. Copyright by William J. Stowman 1998 iii TABLE OF CONTENTS page RECITAL PROGRAMS. vu ACKNOWLEDGEMENTS....... ............. .m Chapter I. A BRIEF HISTORY OF THE BRASS QUINTET . 1 Evolution of an ensemble Development of a repertoire Transcriptions Commissions and the repertoire's growth Instrumentation The role of the trumpet in the brass quintet II. THE MUSIC OF THOM RITTER GEORGE. 19 The composer's background and personal history Publication of the brass quintets The brass quintets: An overview Brass Quintet No. I Brass Quintet No. 2 Brass Quintet No. 3 Brass Quintet No. 5 Fanfare No. 7 v III. ANALYSIS OF QUINTET NO.4 . 29 Inception and history of the work Characteristics of the Composers style Theoretical analysis of Movement I Sound and general musical character Melodic elements Harmonic elements Rhythmic elements Formal considerations Performance practice issues revealed by analysis Theoretical analysis of Movement II Sound and general musical character Melodic elements Harmonic elements Rhythmic elements Formal considerations Performance practice issues revealed by analysis Theoretical analysis of Movement III Sound and general musical character Melodic elements Harmonic elements Rhythmic elements Formal considerations Performance practice issues revealed by analysis Theoretical analysis of Movement IV Sound and general musical character Melodic elements Harmonic elements Rhythmic elements Formal considerations Performance practice issues revealed by analysis Summary and Conclusions BIBLIOGRAPHY . 73 vi - University of North Texas presents A Graduate Recital WILLIAM J. STOWMAN, trumpet accompanied by Gabriel SAnchez, piano- assisted by Kurt Gorman, trumpet " Tom Brantley, trombone John Rauschuber, horn - Richard Morgan, tuba Monday, June 19, 1995 5:00 pm Concert Hall Suite in D....................................... G. F. Handel Overture - Gigue Air (Menuetto) March (Bourie) March Legend ....................................... Georges Enesco Caprice ...................................... ... Joseph Turrin - Intermission - Concertino ................................... Jacques CastdrIde Allegro energico Andante sostenuto-- Allegro . Believe me, if all those endearing young charms............... Traditional arr. Stowman Presented in partial fulfillment of the requirements for the degree of - Doctor of Musical Arts vii I University of North Texas presents A Graduate Recital WILLIAM J. STOWMAN, trumpet assisted by Bradley J. Genevro, clarinet - Steven R. Dube, trumpet Nina Schumann, piano Monday, June 16, 1997 6:30 pm Recital Hall Intrada ........................................... Otto Ketting ChamberMusic VII........................... Robert Suderburg 1. calls and echoes, allegro 2. calls and echoes, adagio, andante 3. procession, closing-call - Intermission - Sonata No. 2 ............................... Giuseppe Adrovandini Allegro Adagio Allegro Sinfonia con Tromba .............................. Giuseppe Torelli Allegro Adagio Allegro Allegro non troppo Double Concertofor Clarinet and Trumpet ................. Gordon Jacob Allegro Largo Allegro vivace Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts viii University of North Texas presents A Graduate Recital WILLIAM J. STOWMAN, trumpet assisted by Bradley J. Genevro, clarinet " Steven R. Dube, trumpet Nina Schumann, piano Monday, June 16, 1997 6:30 pm Recital Hall Intrada .......................................... Otto Ketting ChamberMusic VII ............................. Robert Suderburg 1. calls and echoes, allegro 2. calls and echoes, adagio, andante 3. procession, closing-call - Intermission - Sonata No. 2. ............................... Giuseppe Adrovandini Allegro Adagio Allegro Sinfonia con Tromba .............................. Giuseppe Torelli Allegro Adagio Allegro Allegro non troppo Double Concertofor Clarinet and Trumpet ................. Gordon Jacob Allegro Largo Allegro vivace Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts ix University of North Texas IF r presents A Graduate Recital WILLIAM J. STOWMAN, trumpet accompanied by Gabriel Sanchez, piano assisted by Larry Jones, trwnpet " Steven Dube, trumpet JemmiLou Rye, soprano " Masako Kikuchi, violin Norio Koizurm, violin " James H. Hammond, viola Jeffrey A. Lang, 'cello e Wayne Foster, harpsichord Jason Worzbyt, conductor Monday, March 4, 1996 5:00 pm Concert Hall Fanfarefor St. Ednundsbury . ...................... Benjamin Britten Sonata........... ".... ........... ....... Thom Ritter George I. Ag Hato II. Adagio (Night Song) III. Vivace assai e Scherzando Concerto ..... "."."..".". .". #.".. ". ". "..".............J. Neruda I. Allegro II. Largo III. Vivace - Intermission - Cantata No. SI..................................... J. S.Bach No. I Arie No. 2 Recitativ No. 3 Arie No. 4 Choral Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts x CHAPTER I A BRIEF HISTORY OF THE BRASS QUINTET Evolution of an Ensemble The term brass quintet refers to a chamber ensemble of five players, usually consisting of two trumpets, one horn, one trombone and a tuba or bass trombone. Many believe that the birth of the modem brass quintet occurred in 1954 with the inception of the New York Brass Quintet. ' This event was, however, foreshadowed by the beginning of the New York Brass Ensemble in 1947.2 The existence of a brass chamber ensemble is not entirely a twentieth-century idea. While the modern brass quintet has emerged during the mid 1900's, other ensembles and events throughout history serve as pre-cursors to the genre and provide a significant foundation for more recent developments. Consorts of instruments have existed since at least the Renaissance. 3 The research of David Whitwell proves the existence of small civic wind bands in Medieval Western Europe during the twelfth century. These musicians were employed as watchmen who guarded the cities during the night against attack, ' William Brown, "School Brass Quintets," Instrumentalist (August 1992): 67. 2 William Jones, "The Brass Quintet: An Historical and Stylistic Survey" (D.M.A. diss., University of Kentucky), in progress. 3 William Brown, "School Brass Quintets," Instrumentalist (August 1992): 67. 1 2 predators, rogues and especially fire.4 Eventually, these musicians, referred to in England as "waits," took on other duties such as playing fanfares to announce the time during darkness and aubaudes to warn lovers of the impending sunrise.' These musicians were civic employees and played for various events such as banquets, whippings, floggings and weddings.' By the fifteenth century, these groups had evolved into ensembles consisting of shawms and slide trumpets or trombones. In addition to their performance of tower music, they played regular public concerts. These concerts represent the first real use of the word "concert" as well as the beginning of "art music."7 Titles for these musicians vary with each country and language. Whether referred to as carrocio, pifferi, trombetti, stadpppers or scalmeyers, these musicians provided the
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