Dame Ethel Smyth's Concerto for Violin, Horn, and Orchestra: a Performance Guide for the Hornist
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Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1998 Dame Ethel Smyth's Concerto for Violin, Horn, and Orchestra: A Performance Guide for the Hornist. Janiece Marie Luedeke Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Luedeke, Janiece Marie, "Dame Ethel Smyth's Concerto for Violin, Horn, and Orchestra: A Performance Guide for the Hornist." (1998). LSU Historical Dissertations and Theses. 6747. https://digitalcommons.lsu.edu/gradschool_disstheses/6747 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. 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DAME ETHEL SMYTH’S CONCERTO FOR VIOLIN, HORN, AND ORCHESTRA: A PERFORMANCE GUIDE FOR THE HORNIST A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Janiece Marie Luedeke B.M.E., Lawrence University, 1987 M.M., University of Akron, 1989 August, 1998 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 9902649 Copyright 1998 by Luedeke, Janiece Marie All rights reserved. UMI Microform 9902649 Copyright 1998, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. © Copyright 1998 Janiece Marie Luedeke All rights reserved ii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGMENTS I would like to express my gratitude to my professors, friends, and family for all their support throughout the course of this degree. I have had the fortunate pleasure of working with an exceptional committee. I would especially like to thank Professors Bruce Heim, Jennifer Brown, and Richard Kaplan for sharing their insight as well as providing me with hours of help. My gratitude also extends to my friends who have helped me maintain my perspective and have encouraged me to be persistent. Through the years, my greatest source of support has come from my family. They are my foundation and have given me more love than I could have ever dreamed of receiving. I would especially like to thank my parents, Carlton and Elizabeth and my sisters, Mary, Beverly, and Laura. This monograph is dedicated to the loving memory of Jacek Ilnicki. iii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. NOTATIONAL CONVENTIONS The octave designation system used in this monograph is U.S.A. Standard notation, the octave notation system adopted by the Acoustical Society of America. See Robert W. Young, ‘Terminology for Logarithmic Frequency Units,” Journal o f the Acoustical Society o f America 11 (1939): 134-139. It is as follows: S 30— i ;t>: „ i — — t ^ s*—* Ci C2 C3 C4 C5 Cg C7 In the Smyth Double Concerto, measure numbers were not provided by the publishers. This author has chosen to begin with the first complete measure. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS ACKNOWLEDGMENTS.................................................................................................iii NOTATIONAL CONVENTIONS.................................................................................... iv LIST OF EXAMPLES...................................................................................................... vi ABSTRACT......................................................................................................................vii INTRODUCTION...............................................................................................................1 CHAPTER 1 IMPRESSIONS OF ETHEL SMYTH....................................................... 5 2 ANALYTICAL OBSERVATIONS ONTHE CONCERTO FOR VIOLIN, HORN, AND ORCHESTRA.................................................. 24 First Movement ...................................................................... 24 Second Movement. ................................................................. 28 Third Movement .....................................................................32 3 A TEACHING GUIDE FOR THE HORNIST ........................................ 36 Horn Chords ............................................................................36 B a la n c e ......................................................................................46 Con Sordino............................................................................49 CONCLUSION................................................................................................................ 54 REFERENCES................................................................................................................. 56 APPENDIX A: REHEARSAL NUMBERS CORRESPONDING TO MEASURE NUMBERS OF SMYTH’S CONCERTO.............................................. 61 APPENDIX B: CONSENT FORMS.............................................................................. 64 VITA.................................................................................................................................. 68 v Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. LIST OF EXAMPLES 2.1. Brahms and Smyth Comparison........................................................................... 28 2.2. Transitional Figure in Smyth’s Concerto .............................................................. 31 3.1. B-flat Harmonic Series Notated for Horn in F...................................................... 38 3.2. The Horn Chords Found in Smyth’s Concerto .....................................................39 33. Voice Range......................................................................................................... 42 3.4. Sounding Pitches..................................................................................................43 3.5. Pitches Played and Sung Simultaneously .............................................................44 3.6. Pitches Played at Different Dynamics ...................................................................44 3.7. Moving by Half Steps ..........................................................................................44 3.8. Vocalizing Above the Sustaining Note ..................................................................45 3.9. Vocalizing Below the Sustaining Note..................................................................45 3.10. Other Combinations of Pitches ........................................................................... 45 3.11 .C on Sord. Passages in the Third Movement of Bart6k’s Concertofor Orchestra 51 3.12a. Con Sord. Passage in Second Movement of Smyth’s Concerto........................ 52 3.12b. Con Sord. Passage in Third Movement of Smyth’s Concerto...........................52 vi Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ABSTRACT Dame Ethel Smyth’s Concerto for Violin, Horn, and Orchestra (1927) is a welcome addition to the hom concerto repertory. Moreover, Smyth’s “Double Concerto” has the added distinction of being the first significant piece for hom by a female composer. The Double Concerto was first performed May 5,1927, in the Queens Hall, London