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The History and Usage of the Tuba in Russia The History and Usage of the Tuba in Russia D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By James Matthew Green, B.A., M.M. Graduate Program in Music The Ohio State University 2015 Document Committee: Professor James Akins, Advisor Professor Joseph Duchi Dr. Margarita Mazo Professor Bruce Henniss ! ! ! ! ! ! ! ! ! ! ! ! Copyright by James Matthew Green 2015 ! ! ! ! ! ! Abstract Beginning with Mikhail Glinka, the tuba has played an important role in Russian music. The generous use of tuba by Russian composers, the pedagogical works of Blazhevich, and the solo works by Lebedev have familiarized tubists with the instrument’s significance in Russia. However, the lack of available information due to restrictions imposed by the Soviet Union has made research on the tuba’s history in Russia limited. The availability of new documents has made it possible to trace the history of the tuba in Russia. The works of several composers and their use of the tuba are examined, along with important pedagogical materials written by Russian teachers. ii Dedicated to my wife, Jillian Green iii Acknowledgments There are many people whose help and expertise was invaluable to the completion of this document. I would like to thank my advisor, professor Jim Akins for helping me grow as a musician, teacher, and person. I would like to thank my committee, professors Joe Duchi, Bruce Henniss, and Dr. Margarita Mazo for their encouragement, advice, and flexibility that helped me immensely during this degree. I am indebted to my wife, Jillian Green, for her persistence for me to finish this document and degree. I am also thankful of her support of my musical and academic endeavors. I would like to thank my good friends Adam Stevens, doctoral candidate in tuba performance at the University of Iowa, Tracy Luna, band director in eastern Tennessee, and Lisa Muth, freelance hornist and tubist in Cleveland for their help with editing and helping me stay positive through the difficult times. Without Alexei Levashkin, Russian tubist and teacher, this document would not be possible. His willingness to share his life’s research on the history and teachers of the tuba in Russia his English translation has been the foundation of this paper. Lastly, I would like to thank every friend, family member, colleague, and mentor not mentioned who has helped me on my musical journey. iv Vita September 18, 1986 ...................................... Born, Dallas, TX 2005 ............................................................... High School Diploma, Cedar Hill High School 2009 ............................................................... B.A in Music, Abilene Christian University 2009- 2011 .................................................... Graduate Assistant, Miami University 2011 ............................................................... Master of Music, Miami University 2011-2014 ..................................................... Graduate Teaching Associate, School of Music, The Ohio State University 2014 to present .............................................. Lecturer of Tuba, Euphonium, and Bass Trombone, Ohio Northern University Publications Corelli, Arcangelo. Sonata No 10 in F Major. Transcribed and edited for tuba by James M. Green. Ledyard, CT: Cimarron Music Press, 2015. Fields of Study Major Field: Music Area of Emphasis: Tuba Performance v Table of Contents Abstract ............................................................................................................................... ii! Dedication………………………………………………………………………………...iii! Acknowledgments .............................................................................................................. iv! Vita ...................................................................................................................................... v! List of Musical Examples ................................................................................................ viii! Note on Abbreviations, Translations, Transliterations, and Pitch Designations................xi! Introduction..........................................................................................................................1! Chapter 1: History and Development of Brass in Russia from Peter the Great to Glinka...4 Chapter 2: The Establishment of the Russian Conservatory and the Tuba’s Dispersion..28 Chapter 3: The Tuba's Usage in Romantic Era Russia…..………………………………38 Chapter 4: The Tuba in the Silver Age of Russia……………………………………......71 Chapter 5: The Soviet Union's Impact on the Tuba…………………………….………..88 Chapter 6: The Russian School of Tuba………………………………………………..118 Chapter 7: Contemporary Trends for the Tuba in Russia………………………………133 Conclusions…………………………………………………………………………......142 Works Consulted………………………………………………………………………..144 Appendix A: Writings About the Ophicleide and Tuba in Orchestration Treatises…....151 vi Appendix B: Permissions…………………………………………………………….…153 vii List of Musical Examples Example 1.1 Glinka’s A Life for the Tsar, section 17, measures 1-5………………….21 Example 1.2 Glinka’s A Life for the Tsar, section 19, measures 104-121…………….22 Example 1.3 Glinka’s La Jota Aragonesa, introduction, measures 25-31……………..25 Example 1.4 Glinka’s La Jota Aragonesa, measures 6-16 of rehearsal F……………...26 Example 3.1 Balakirev’s Russia, measures 11-18 of rehearsal 3……………………...41 Example 3.2 Balakirev’s Russia, measures 13-16 of rehearsal 13…………………….42 Example 3.3 Balakirev’s Symphony No. 1, mvt. 3, rehearsal 11-12……………...…...43 Example 3.4 Borodin’s Prince Igor Overture, measures 41-48………...……………...46 Example 3.5 Borodin’s Symphony No. 2, mvt. 1, measures 14-19 of rehearsal C…....47 Example 3.6 Borodin’s Symphony No. 2, met. 4, measures 1-8 of rehearsal A………48 Example 3.7 Mussorgsky’s Night on Bald Mountain, measures 15-21………………..51 Example 3.8 Night on Bald Mountain, ed. Rimsky-Korsakov, measures 15-21………52 Example 3.9 Mussorgsky’s Boris Godunov, scene 2, measures 1-7…………………..54 Example 3.10 Boris Godunov, ed. Rimsky-Korsakov, scene 2, measures 1-6……...…..56 Example 3.11 Rimsky-Korsakov’s Scheherazade, mvt. 1, measures 1-4……………….58 Example 3.12 Rimsky-Korsakov’s Scheherazade, mvt. 4, meas. 11-17 of rehearsal S....60 Example 3.13 Rimsky-Korsakov’s Russian Easter Overture, meas. 13-36 of reh. C…....61 viii Example 3.14 Tchaikovsky’s Symphony No. 1, movement 4, measures 57-62………...65 Example 3.15 Tchaikovsky’s 1812 Overture, measures 353-357……………………….66 Example 3.16 Tchaikovsky’s Symphony No. 5, movement 1, measures 267-270..…….67 Example 3.17 Tchaikovsky’s Symphony No. 6, mvt. 4, meas. 1-10 of rehearsal L…….69 Example 4.1 Ewald’s Quintet No. 1, movement 1, measures 1-8……….……….……74 Example 4.2 Ewald’s Quintet No. 1, movement 1, measures 52-59……….………….76 Example 4.3 Ewald’s Quintet No. 1, movement 2, measures 10-19…….…………….77 Example 4.4 Stravinsky’s Firebird Suite, movement 5, measures 3-8…………….…..80 Example 4.5 Stravinsky’s Petrushka, tableau 4, measures 3-8 of rehearsal 100………82 Example 4.6 Stravinsky’s Rite of Spring, part 1, rehearsal 67-68………………….….85 Example 4.7 Stravinsky’s Rite of Spring, part 2, measures 1-6 of rehearsal 186……...86 Example 4.8 Differences between two Petrushka editions………………………….…88 Example 5.1 Prokofiev’s Lieutenant Kije Suite, mvt. 5, measures 1-4 of reh.59……...93 Example 5.2 Prokofiev’s Romeo and Juliet Suite 2, mvt. 5, meas. 4-8 of reh. 49.........94 Example 5.3 Prokofiev’s Romeo and Juliet Suite 2, mvt. 7, meas. 3-8 of reh. 67…….96 Example 5.4 Prokofiev’s Alexander Nevsky, movement 1, measures 1-4.……………97 Example 5.5 Prokofiev’s Alexander Nevsky, mvt. 2, measures 1-6 of rehearsal 9…....98 Example 5.6 Prokofiev’s Alexander Nevsky, mvt. 5, measures 1-5 of rehearsal 35…..99 Example 5.7 Prokofiev’s Ivan the Terrible, movement 12, measures 1-11…………..101 Example 5.8 Prokofiev’s Symphony No. 6, mvt. 1, measures 1-5 of rehearsal 19…..104 Example 5.9 Prokofiev’s Symphony No. 6, movement 3, rehearsals 71-72…………105 Example 5.10 Shostakovich’s Symphony No. 9, movement 4, measures 1-9……...….108 ix Example 5.11 Shostakovich’s First Violin Concerto, mvt. 3, rehearsal 76-77………..110 Example 5.12 Shostakovich’s Symphony No. 13, movement 4, measures 1-23………113 Example 5.13 Tcherepnin’s Andante, measures 12-15…………………………………116 Example 5.14 Tcherepnin’s Andante, measures 61-65…………………………………116 Example 5.15 Tcherepnin’s Andante, measures 37-40, tuba part………………………117 Example 6.1 Vasiliev’s 24 Melodius Etudes, No. 12, measures 13-25……....………120 Example 6.2 Comparison of Two Similar Blazhevich Etudes......................................124 Example 6.3 Lebedev’s Concerto No. 1, measures 6-9………………………………127 Example 6.4 Lebedev’s Concerto No. 1, measures 53-57……………………………128 Example 6.5 Lebedev’s Concerto No. 1, cadenza……………………………………129 Example 7.1 Strukov’s Concerto for Tuba, movement 1, measures 23-26…………..135 Example 7.2 Gubaidulina’s Lamento, rehearsal 15-16……………………….……....137 Example 7.3 Gubaidulina’s Lamento, rehearsal 4-5………………………………….138 Example 7.4 Arutiunian’s Concerto for Tuba, movement 3, measures 9-16…………140 x Note on Abbreviations, Translations, Transliterations, and Pitch Designations References to dynamic and tempo markings will be included as written in the music. When applicable, I will put any Cyrillic texts in parentheses and use the Library of Congress transliteration system on Russian words, unless properly accepted transliterations exist. Therefore, I will transliterate !"#$#%&'(
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