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37<? /Vg/J No,3O9<? 37<? /vg/J No,3o9<? ROMANZAS FOR CLARINET AND PIANO BY ERNESTO CAVALLINI, A LECTURE RECITAL, TOGETHER WITH THREE OTHER RECITALS 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 Mark Stanton Hollingsworth, B.M., M.M. Denton, Texas December, 1989 Hollingsworth, Mark S., Romanzas for Clarinet and Piano by Ernesto Cavallini: A Lecture Recital Together with Three Other Recitals. Doctor of Musical Arts (Clarinet Performance), December 1989, 95 pp., 18 figures, bibliography, 40 titles. The lecture was given on September 25, 1989. The discussion dealt with the stylistic characteristics of music for clarinet by Ernesto Cavallini and included a performance of four romanzas: La Calma, Un Pensiero, L'Incudine, and Lontano dalla Patria. Cavallini was the foremost clarinet virtuoso of the nineteenth century as well as a prolific composer of music for his instrument. The works presented in the lecture represent Cavallini's proclivity for a performance style combining virtuosity with lyrical expression. Copies of the original publications of Cavallini's romanzas were obtained from the Biblioteca del Conserva- tory, "Giuseppi Verdi," Milan, Italy. In addition to the lecture recital, three other recitals for solo clarinet were given. The first recital was given on October 29, 1984, and included works by Carl Maria von Weber, Leslie Bassett, Halsey Stevens, and Carl Reinecke. The second recital was given on July 29, 1985, and included works by Bernard Heinrich Crusell, Halsey Stevens, and Johannes Brahms. The third recital was given on October 3, 1988, and included works by Saviero Mercadante, Eugene Bozza, and John Ireland. All four recitals were recorded on magnetic tape and are filed, along with the written version of the lecture materials, as a part of the dissertation. Copyright by Mark Stanton Hollingsworth 1989 111 TABLE OF CONTENTS Page LIST OF FIGURES v PERFORMANCE PROGRAMS First solo recital vii Second solo recital viii Third solo recital ix Lecture recital x Chapter I. INTRODUCTION 1 II. ERNESTO CAVALLINI: CLARINETIST AND COMPOSER 4 III. CAVALLINIfS ROMANZAS AND CHARACTER PIECES FOR CLARINET 17 IV. SUMMARY 49 APPENDIX I 51 APPENDIX II 57 BIBLIOGRAPHY 93 IV LIST OF FIGURES Page Figure Form and Key Associations in Cavallini's Romanzas . 25 2. Thematic Differences in Caprice, Op. 4, No• 4/ and La Calma .......... 28 Motivic Cell Transformation and Phrase Structure in La Calma 29 4. Transition to the B Section of La Calma. 29 5. Three Phrase Melody in the A Section of Un Pensiero . 32 Transition to the Key of B Major in Un Pensiero 33 Clarinet Melody in the Interlude of Un Pensiero 34 Transition to the Virtuoso Section of Un Pensiero 35 9. Clarinet Cadenza and Closing Phrase in Un Pensiero 36 10. Comparison of Clarinet Thematic Material in L'Incudine 38 11 . Approach and Departure of the Secondary Theme in the First Section of L'Incudine, 40 12. Anvil Effect in the Piano Accompaniment in the First Two Sections of L'Incudine. 41 13. Clarinet Arpeggio Figures in the Coda of L'Incudine 41 List of Figures, Continued Page Figure 14. Progression to Virtuosity in the Clarinet Thematic Material of Lontano dalla Patria. 43 15. Clarinet Motivic Comparison in the First Section of Lontano dalla Patria 44 16. Chromatic Mediant Harmony in the First Section of Lontano dalla Patria 45 17. Thematic Contrast in the Second Section of Lontano dalla Patria 46 18. Clarinet Cadenza and Closing Material in Lontano dalla Patria 48 VI North Texas State University School of Music Graduate Recital MARK HOLLINGSWORTH, Clarinet Assisted by: Judy Fisher, Piano Donna Meinecke, Piano Dennis Houghton, Horn Monday, October 29, 1984 5:00 p.m. Concert Hall Concerto for Clarinet in F Minor Opus 73 Carl Maria von Weber Allegro moderato Adagio Rondo, allegro Soliloquies for Solo B-flat Clarinet Leslie Bassett Fast, aggressive, driving, dramatic Flowing, singing Fast, abrasive, contensious Slow, lyrical, expressive Suite for Clarinet and Piano .Halsey Stevens Allegretto Adagio Bucolico, pesante Moderato con moto Trio in B-flat Opus 274 Clarinet, Horn and Piano. .Carl Reinecke Allegro A Tale, andante Scherzo, allegro Finale, allegro Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts vii North Texas State University School of Music Graduate Recital MARK HOLLINGSWORTH, Clarinet Assisted by Donna Tan-Meinecke, Piano Jane McCormick, Cello Monday, July 29, 1985 8:15 p.m. Concert Hall Introduction and Variations on a u Swedish Air Opus 12 Bernhard Heinrich Crusell Concerto for Clarinet and . String Orchestra Halsey Stevens Andante non troppo, allegro Quasi adagio Allegro moderato Trio in A Minor for Piano, Cello and Clarinet Opus 114 Johannes Brahras Allegro Adagio Andantino grazioso Allegro Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts Y1X1 presents Graduate Recital MARK HOLLINGSWORTH, Clarinet Dennis Boe, Piano Concerto in B-flat for Clarinet and Chamber Orchestra Saverio Mercadante A11egro maestoso Andante con variazioni Concerto for Clarinet and Chamber Orchestra or Piano. .... Eugene Bozza A11egro moderato Andantino Vif Fantasy-Sonata lre1anc* Presented in partial fulfillment of the requ i rements for the degree of Doctor of Musical Arts MONDAY, OCTOBER 3, 1988 CONCERT HALL 6:30 p.m. IX mmmimmmmmvm presents Lecture Recital MARK HOLLINGSWORTH> Clarinet Assisted by Rose Marie Chisholm, Piano R0MANZA5 FOR CLARINET AND PIANO BY ERNESTO CAVALLINI La Calrna, Romanza senza Parole Ernesto Cavallini (1807-1874) Un Pensiero, Romanza L' 1 ncrud i ne, Romanza A11 egor i ca Lontano da 11a Patr i a, Romanza Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts MONDAY, SEPTEMBER 25, 1989 CONCERT HALL 6:30 P.M. CHAPTER I INTRODUCTION The clarinet gradually gained a place in the orchestra during the eighteenth century and developed into a viable solo instrument by 1800. The Mannheim Court was a major center of the developing art of clarinet playing due to the compositional efforts of Johann and Karl Stamitz and the virtuosic performance abilities of clarinetists Joseph Beer and Franz Tausch. The Mannheim acceptance of the clarinet took hold throughout Germany and Austria and spread quickly to other European musical centers. Towards the end of the eighteenth century the clarinet became a prominent member of the orchestra and also gained acceptance as a chamber and solo music instrument. Many clarinet virtuosi were also competent composers. Anton Stadler (1753-1812) of Austria and Xavier Lefevre (1763-1829) of France contributed to the development of nationalistic styles of clarinet performance, which in turn influenced the clarinetists of the nineteenth century.1 1. F. Geoffrey Rendall, The Clarinet, rev. by Philip Bate (London: Ernest Benn Ltd., 1971), 82. The popularity of the instrument grew until clarinetists were receiving training throughout Europe. For example, in 1795, the Paris Conservatory employed twelve clarinet 2 instructors to teach 104 students. Although the clarinet was used in Italy during its early development, an Italian school of clarinet virtuosity was not established until the mid-nineteenth century. The major Italian clarinet virtuoso of this period was Ernesto Cavallini. Cavallini was well respected throughout Europe as a virtuoso performer. In addition to his performing talents he was also a prolific composer of clarinet music. Caval- lini's influence as a performer was extensive; however, most of his compositions have not retained popularity and have not remained in publication. Only two works, Thirty Caprices for Solo Clarinet and Adagio and Tarantella, have remained in consistent use in the twentieth century. The caprices were originally published as five sets of Sei capricci per clari- netto solo each with separate opus numbers, 1 through 5 (the only works by Cavallini that bear opus numbers). 2. John Williams Peterson, The Virtuoso Clarinet: Arrange- ments from Nineteenth-Century Italian Opera (DMA diss. North Texas State University, 1977, Denton, TX), 3. The caprices were written during Cavallini's student years and early career in Milan. His later compositions for clarinet, including Adagio and Tarantella, involved piano or orchestral accompaniment and chamber music. The style of his accompanied clarinet works, however, relates directly to the caprices in the treatment of melodic mate- , rial and in the element of virtuoso display. His preference for a bravura style continued in his later compositions, the romanzas and character pieces for clarinet and piano, published while he was clarinetist in the court and theatre orchestras of St. Petersburg. The purpose of this lecture recital, the presentation and performance of romanzas for clarinet by Cavallini, reguired research in several areas, including Cavallini's career as a clarinetist and composer, the history of romanza composition, and analysis and stylistic comparison of Cavallini's works in relation to the virtuoso style of the nineteenth century. CHAPTER II ERNESTO CAVALLINI: CLARINETIST AND COMPOSER Cavall irti ' s Early Career in Milan Ernesto Cavallini (1807-1874) was one of the foremost clarinet virtuosos of the nineteenth century. He was well known throughout Europe as a solo performer and composer during a period when piano and violin virtuosity over- shadowed the capabilities of other instruments. Caval- lini 's solo career surmounted all other clarinetists of his day with the exception of Heinrich and Karl Baermann.^ Cavallini was born in Milan, the city which became the center of his musical accomplishments. He was a member of a musical family: his brother Eugenio was an accom- plished violinist and his brother Pompey was a British bandmaster. Cavallini entered the Milan Conservatory, at the age of 10, as a student of Benadetto Carulli, principal clarinetist of the La Scala Orchestra. In 1830 he accepted the solo clarinet position of La Fenice Theatre, in Venice, and later became a member of the Piedentesse Regiment Band.
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