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The Evolution of the Clarinet and Its Effect on Compositions Written for the Instrument
Columbus State University CSU ePress Theses and Dissertations Student Publications 5-2016 The Evolution of the Clarinet and Its Effect on Compositions Written for the Instrument Victoria A. Hargrove Follow this and additional works at: https://csuepress.columbusstate.edu/theses_dissertations Part of the Music Commons Recommended Citation Hargrove, Victoria A., "The Evolution of the Clarinet and Its Effect on Compositions Written for the Instrument" (2016). Theses and Dissertations. 236. https://csuepress.columbusstate.edu/theses_dissertations/236 This Thesis is brought to you for free and open access by the Student Publications at CSU ePress. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of CSU ePress. THE EVOLUTION OF THE CLARINET AND ITS EFFECT ON COMPOSITIONS WRITTEN FOR THE INSTRUMENT Victoria A. Hargrove COLUMBUS STATE UNIVERSITY THE EVOLUTION OF THE CLARINET AND ITS EFFECT ON COMPOSITIONS WRITTEN FOR THE INSTRUMENT A THESIS SUBMITTED TO HONORS COLLEGE IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE HONORS IN THE DEGREE OF BACHELOR OF MUSIC SCHWOB SCHOOL OF MUSIC COLLEGE OF THE ARTS BY VICTORIA A. HARGROVE THE EVOLUTION OF THE CLARINET AND ITS EFFECT ON COMPOSITIONS WRITTEN FOR THE INSTRUMENT By Victoria A. Hargrove A Thesis Submitted to the HONORS COLLEGE In Partial Fulfillment of the Requirements for Honors in the Degree of BACHELOR OF MUSIC PERFORMANCE COLLEGE OF THE ARTS Thesis Advisor Date ^ It, Committee Member U/oCWV arcJc\jL uu? t Date Dr. Susan Tomkiewicz A Honors College Dean ABSTRACT The purpose of this lecture recital was to reflect upon the rapid mechanical progression of the clarinet, a fairly new instrument to the musical world and how these quick changes effected the way composers were writing music for the instrument. -
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International Conference on Arts, Design and Contemporary Education (ICADCE 2016) The Concertizing Clarinet in the Music of the 20th- 21st Centuries Yu Zhao Department of Musical Upbringing and Education Institute of Music, Theatre and Choreography Herzen State Pedagogical University of Russia Saint-Petersburg, Russia E-mail: [email protected] Abstract—The article deals with stating the problem of a clarinet concert of the 20-21 centuries (one should note in research in ontology of the genre of Clarinet Concert in 20-21 this regard S. E. Artemyev‟s full-featured thesis considering centuries. The author identifies genre variants of long forms the Concerto for clarinet and orchestra of the 18th century). for solo clarinet with orchestra or instrumental ensemble and proposes further steps in making such a research, as well. II. A SHORT GUIDE IN THE HISTORY OF THE CLARINET Keywords—instrumental concert; concertizing; concerto; CONCERT GENRE concert genres; genre diversity Studies in the executive mastership are connected with a research of the evolution of the genres of instrumental music. I. INTRODUCTION The initial period of genesis and development of clarinet concert is investigated widely. Contemporary music in its various genres has become in many aspects a subject of scrupulous studies in musicology. It is known that the most early is the composition of Our research deals with professional problematics of the Antonio Paganelli indicated by the author as Concerto per instrumental concert genre, viewed more narrowly, namely, Clareto (1733). Possibly, it was written for chalumeau, the connected with clarinet performance. instrument-predecessor of the clarinet itself. But, before this time clarinet was used as one of the concertizing instruments The purpose of this article is to identify the situation in the genre of Concerto Grosso, particularly by J. -
Nordic Concertos Martin Fröst
martin fröst nordic concertos anders hillborg vagn holmboe karin rehnquist bernhard crusell BIS-2123 BIS-2123 BIS-2123_f-b.indd 1 2014-06-30 14:50 HILLBORG, Anders (b. 1954) 1 Clarinet Concerto (Peacock Tales) (1998) (Edition Peters) 28'43 Swedish Radio Symphony Orchestra Esa-Pekka Salonen conductor HOLMBOE, Vagn (1909–96) Concerto No. 3, Op. 21 (1940–42) (Wilhelm Hansen) 16'46 for clarinet and orchestra 2 I. Allegro non troppo 11'00 3 II. Allegro giocoso 5'41 Aalborg Symphony Orchestra Owain Arwel Hughes conductor REHNQVIST, Karin (b. 1957) On a Distant Shore (Swedish MIC) 17'47 Concerto for clarinet and orchestra (2002) 4 I. The Dark 4'09 5 II. The Light 5'14 6 III. The Wild 1'54 7 IV. The Singing 4'02 8 V. The Call 2'28 Swedish Chamber Orchestra, Örebro Petter Sundkvist conductor 2 CRUSELL, Bernhard Henrik (1775–1838) Introduction, Theme and Variations on a Swedish Air 11'14 for clarinet and wind orchestra, Op. 124 9 Introduction 1'10 10 Theme 1'05 11 Variation I 1'33 12 Variation II 1'26 13 Variation III 1'10 14 Variation IV 1'46 15 Variation V 3'04 Östgöta Symphonic Wind Ensemble Arie van Beek conductor TT: 75'42 Martin Fröst clarinet 3 Anders Hillborg wrote his clarinet concerto Peacock Tales for Martin Fröst during three intense months in 1998. Before that, he had already composed a number of shorter pieces for Fröst, including Close Up (1990), Tampere Raw (1991), Nursery Rhymes (1996) and The Peacock Moment (1997). In spite of lasting only about a minute the latter piece, for clarinet and piano/tape, might be regarded as the embryo of the concerto, which originally was intended to be a fifteen-minute piece but rapidly developed into a half-hour musical drama in - cor porating mime/dance and lighting. -
Lomax Product Sheet
LOMAX PRODUCT SHEET Handcrafted Professional and Student Mouthpieces Professional Bb Clarinet Mouthpieces Professional Bass Clarinet Mouthpieces Classic Bb Model Mouthpiece - $300.00 Classic Bass Model Mouthpiece - $380.00 Classic BA5 Model Mouthpiece - $300.00 Rocco Parisi Model Mouthpiece $380.00 Legacy 1929 Mouthpiece - $375.00 Aria Bass Model Mouthpiece - $250.00 L’Opera Model Mouthpiece - $300.00 Chicago Model Mouthpiece - $300.00 Student Prelude Mouthpieces Andy Firth Jazz Model Mouthpiece - $300.00 Prelude Clarinet Mouthpiece - $45.00 Aria Bb Model Mouthpiece $250.00 Prelude Alto Saxophone Mouthpiece - $50.00 Prelude Tenor Saxophone Mouthpiece - $55.00 Professional Eb Clarinet Mouthpieces Prelude Bass Clarinet Mouthpiece - $150.00 Classic Eb Model Mouthpiece - $300.00 Aria Eb Model Mouthpiece - $250.00 HumidiPro Cases and Covers HumidiPro Cases HumidiPro Covers and “Ultra” Covers HumidiPro-Single Eb Clarinet - $290.00 HumidiPro Standard Small Case Cover - $120.00 HumidiPro-Single C Clarinet - $290.00 HumidiPro Standard Medium Case Cover - $150.00 HumidiPro-Single Bb Clarinet - $290.00 HumidiPro Standard Large Case Cover - $165.00 HumidiPro-Single A Clarinet - $290.00 HumidiPro “Ultra” Small Case Cover with Heating HumidiPro-A/Bb Double Clarinet - $390.00 Unit - $200.00 HumidiPro-A/Bb/Eb Clarinet Triple - $470.00 HumidiPro “Ultra” Medium Case Cover with Heating HumidiPro-Bass Clarinet to Low C, with A and Bb Unit - $230.00 Clarinet or Eb Clarinet Option - $890.00 HunidiPro “Ultra” Large Case Cover with Heating HumidiPro-Contra Eb -
PROGRAM NOTES Wolfgang Mozart Clarinet Concerto in a Major, K
PROGRAM NOTES by Phillip Huscher Wolfgang Mozart Born January 27, 1756, Salzburg, Austria. Died December 5, 1791, Vienna, Austria. Clarinet Concerto in A Major, K. 622 Mozart composed this concerto between the end of September and mid-November 1791, and it apparently was performed in Vienna shortly afterwards. The orchestra consists of two flutes, two bassoons, two horns, and strings. Performance time is approximately twenty-nine minutes. The Chicago Symphony Orchestra’s first performance of Mozart’s Clarinet Concerto was given at the Ravinia Festival on July 25, 1957, with Reginald Kell as soloist and Georg Solti conducting. The Orchestra’s first subscription concert performance was given at Orchestra Hall on May 2, 1963, with Clark Brody as soloist and Walter Hendl conducting. Our most recent subscription concert performances were given on October 11 and 12, 1991, with Larry Combs as soloist and Sir Georg Solti conducting. The Orchestra most recently performed this concerto at the Ravinia Festival on July 15, 2001, with Larry Combs as soloist and Sir Andrew Davis conducting. This concerto is the last important work Mozart finished before his death. He recorded it in his personal catalog without a date, right after The Magic Flute and La clemenza di Tito. The only later entry is the little Masonic Cantata, dated November 15, 1791. The Requiem, as we know, didn’t make it into the list. For decades the history of the Requiem was full of ambiguity, while that of the Clarinet Concerto seemed quite clear. But in recent years, as we learned more about the unfinished Requiem, questions about the concerto began to emerge. -
Heralding a New Enlightenment
Peculiarities of Clarinet Concertos Form-Building in the Second Half of the 20th Century and the Beginning of the 21st Century Marina Chernaya and Yu Zhao* Abstract: The article deals with clarinet concertos composed in the 20th– 21st centuries. Many different works have been created, either in one or few parts; the longest concert that is mentioned has seven parts (by K. Meyer, 2000). Most of the concertos have 3 parts and the fast-slowly-fast kind of structure connected with the Italian overture; sometimes, the scheme has variants. Our question is: How does the concerto genre function during this period? To answer, we had to search many musical compositions. Sometimes the clarinet is accompanied by orchestra, other times it is surrounded by an ensemble of instruments. More than 100 concertos were found and analyzed. Examples of such concertos were written by C. Nielsen, P. Boulez, J. Adams, C. Debussy, M. Arnold, A. Copland, P. Hindemith, I. Stravinsky, S. Vassilenko, and the attention in the article is focused on them. A special complete analysis is made as regards “Domaines” for clarinet and 21 instruments divided in 6 groups, by Pierre Boulez that had a great role for the concert routine, based on the “aleatoric” principle. The conclusions underline the significant development of the clarinet concerto genre in the 20th -21st centuries, the high diversity of the compositions’ structures, the considerable expressiveness and technicality together with the soloist’s part in the expressive concertizing (as a rule). Further studies suggest the analysis of stylistic and structural peculiarities of the found compositions that are apparently to win their popularity with performers and listeners. -
My Musical Lineage Since the 1600S
Paris Smaragdis My musical lineage Richard Boulanger since the 1600s Barry Vercoe Names in bold are people you should recognize from music history class if you were not asleep. Malcolm Peyton Hugo Norden Joji Yuasa Alan Black Bernard Rands Jack Jarrett Roger Reynolds Irving Fine Edward Cone Edward Steuerman Wolfgang Fortner Felix Winternitz Sebastian Matthews Howard Thatcher Hugo Kontschak Michael Czajkowski Pierre Boulez Luciano Berio Bruno Maderna Boris Blacher Erich Peter Tibor Kozma Bernhard Heiden Aaron Copland Walter Piston Ross Lee Finney Jr Leo Sowerby Bernard Wagenaar René Leibowitz Vincent Persichetti Andrée Vaurabourg Olivier Messiaen Giulio Cesare Paribeni Giorgio Federico Ghedini Luigi Dallapiccola Hermann Scherchen Alessandro Bustini Antonio Guarnieri Gian Francesco Malipiero Friedrich Ernst Koch Paul Hindemith Sergei Koussevitzky Circa 20th century Leopold Wolfsohn Rubin Goldmark Archibald Davinson Clifford Heilman Edward Ballantine George Enescu Harris Shaw Edward Burlingame Hill Roger Sessions Nadia Boulanger Johan Wagenaar Maurice Ravel Anton Webern Paul Dukas Alban Berg Fritz Reiner Darius Milhaud Olga Samaroff Marcel Dupré Ernesto Consolo Vito Frazzi Marco Enrico Bossi Antonio Smareglia Arnold Mendelssohn Bernhard Sekles Maurice Emmanuel Antonín Dvořák Arthur Nikisch Robert Fuchs Sigismond Bachrich Jules Massenet Margaret Ruthven Lang Frederick Field Bullard George Elbridge Whiting Horatio Parker Ernest Bloch Raissa Myshetskaya Paul Vidal Gabriel Fauré André Gédalge Arnold Schoenberg Théodore Dubois Béla Bartók Vincent -
The Inspiration Behind Compositions for Clarinetist Frederick Thurston
THE INSPIRATION BEHIND COMPOSITIONS FOR CLARINETIST FREDERICK THURSTON Aileen Marie Razey, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 201 8 APPROVED: Kimberly Cole Luevano, Major Professor Warren Henry, Committee Member John Scott, Committee Member John Holt, Chair of the Division of Instrumental Studies Benjamin Brand, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Razey, Aileen Marie. The Inspiration behind Compositions for Clarinetist Frederick Thurston. Doctor of Musical Arts (Performance), August 2018, 86 pp., references, 51 titles. Frederick Thurston was a prominent British clarinet performer and teacher in the first half of the 20th century. Due to the brevity of his life and the impact of two world wars, Thurston’s legacy is often overlooked among clarinetists in the United States. Thurston’s playing inspired 19 composers to write 22 solo and chamber works for him, none of which he personally commissioned. The purpose of this document is to provide a comprehensive biography of Thurston’s career as clarinet performer and teacher with a complete bibliography of compositions written for him. With biographical knowledge and access to the few extant recordings of Thurston’s playing, clarinetists may gain a fuller understanding of Thurston’s ideal clarinet sound and musical ideas. These resources are necessary in order to recognize the qualities about his playing that inspired composers to write for him and to perform these works with the composers’ inspiration in mind. Despite the vast list of works written for and dedicated to Thurston, clarinet players in the United States are not familiar with many of these works, and available resources do not include a complete listing. -
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...................................................................................................................................... -
Repertoire List
APPROVED REPERTOIRE FOR 2022 COMPETITION: Please choose your repertoire from the approved selections below. Repertoire substitution requests will be considered by the Charlotte Symphony on an individual case-by-case basis. The deadline for all repertoire approvals is September 15, 2021. Please email [email protected] with any questions. VIOLIN VIOLINCELLO J.S. BACH Violin Concerto No. 1 in A Minor BOCCHERINI All cello concerti Violin Concerto No. 2 in E Major DVORAK Cello Concerto in B Minor BEETHOVEN Romance No. 1 in G Major Romance No. 2 in F Major HAYDN Cello Concerto No. 1 in C Major Cello Concerto No. 2 in D Major BRUCH Violin Concerto No. 1 in G Minor LALO Cello Concerto in D Minor HAYDN Violin Concerto in C Major Violin Concerto in G Major SAINT-SAENS Cello Concerto No. 1 in A Minor Cello Concerto No. 2 in D Minor LALO Symphonie Espagnole for Violin SCHUMANN Cello Concerto in A Minor MENDELSSOHN Violin Concerto in E Minor DOUBLE BASS MONTI Czárdás BOTTESINI Double Bass Concerto No. 2in B Minor MOZART Violin Concerti Nos. 1 – 5 DITTERSDORF Double Bass Concerto in E Major PROKOFIEV Violin Concerto No. 2 in G Minor DRAGONETTI All double bass concerti SAINT-SAENS Introduction & Rondo Capriccioso KOUSSEVITSKY Double Bass Concerto in F# Minor Violin Concerto No. 3 in B Minor HARP SCHUBERT Rondo in A Major for Violin and Strings DEBUSSY Danses Sacrée et Profane (in entirety) SIBELIUS Violin Concerto in D Minor DITTERSDORF Harp Concerto in A Major VIVALDI The Four Seasons HANDEL Harp Concerto in Bb Major, Op. -
UW Symphony David Alexander Rahbee, Music Director and Conductor
~n~~~~~~~~ ~A~~~~GTON 399 dll::>\:f \\-~ UW Symphony David Alexander Rahbee, Music director and conductor With .' -Seattl'e·Symphony Horns 7:30 PM November 3, 2017 Meany Theater UW MUSIC 2017-18 SEASON PROGRAM Symphony no. 8, in FMajor, Op. 93 <1812> ...................?:.§..~.?'t.................................. ludwig van Beethoven I I. Allegro vivace con brio (1770·1827) II. Allegretto scherzando 3> III. Tempo di menuetto t IV. Allegro vivace CD 2 - =1F1T/ ?f90 INTERMISSION I?J ~3r ConcertstUck (Concert piece), for 4Horns and Orchestra, in FMajor, Op. 86 <1849> .............. Robert Schumann I. Lebhaft (1810·1856) II. Romanze: Ziemlich langsam Ill. Sehr lebhaft '? "'" 'A co 'fe.' 12. Jeffre~ Fair I Jenn,a Breen I John Turman I Danielle Kuhlmann, horns ~ ........."1 I ~OW Do-w-vl 1;2'1 :3 rt~Wt k <; I Ro.~k-e. I z.p '53 f The Golden Spinning Wheel, Op. 109 <1896> .........................?::.?.:.!2..b................................. Antonin Dvorak --., (1841·1904) PROGRAM NOTES: Program notes by UWSO oboist logan Esterling Symphony No. 8 in FMaior, Op. 93 LUDWIG VAN BEETHOVEN Beethoven composed the majority of the Eighth Symphony, along with his popular Seventh Symphony, during the summer of 1812. Both of these works premiered on the same concert, similar to the premier concert of the Fifth and Sixth Symphony. The humor and lightness of this symphony is often lost among the towering Seventh and Ninth Symphonies, which are performed much more often. According to various accounts ofthe premiere, audiences were baffled as to why Beethoven chose to include this piece on the program. Beethoven was troubled by how audiences reacted to this piece, to which he commented "That's because it is so much better than the other." Despite such negative responses, Beethoven still thought of his "little symphony in F" as one of his best works. -
The Clarinet and Piano
REVIEWS The explanations are succinct without CLARINET AND PIANO BOOKS sacrificing depth of understanding. The Brian Balmages. Dream Sonatina for Kornel Wolak. Articulation Types for pictures highlighting each muscle group are well presented and clear, and the clarinet and piano. Potenza Music, Clarinet. Music Mind Inc., 2017. 54 2015. Duration 10’30” $24.95 pp. PDF e-book $14.99, hard copy bibliography of materials for additional $19.99 study compliments his explanations nicely. American composer Brian Balmages I found this part of the book particularly (b. 1975) has written numerous works helpful. It directs the student to additional for wind and brass instruments. Dream exercises and methods that will help refine Sonatina was composed for clarinetist the technique in question. Articulation Marguerite Levin and premiered by Types for Clarinet is an excellent primer her in Weill Recital Hall, New York and first step in the understanding and City. Balmages fulfilled the specifics of application of the various available the commission by composing a work reflecting life in his 30s. For Balmages articulations. It was an enjoyable read, this centered on the birth of his two and I recommend it to anyone looking to children and three types of dreams they present articulation concepts to students experienced: daydreams, sweet dreams in a fresh and novel way. and bad dreams. The dreams are each Kornel Wolak’s book Articulation Types – Osiris Molina portrayed in a separate movement. for Clarinet is an extension of his work for The music is well-written, convincing Music Mind Inc. and his graduate research and of medium-hard difficulty, and it uses at the University of Toronto.