TWENTY-FIRST CENTURY TRUMPET MUSIC of JAMES M. STEPHENSON III a Dissertation Submitted to the Graduate Faculty of the North Dako
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TWENTY-FIRST CENTURY TRUMPET MUSIC OF JAMES M. STEPHENSON III A Dissertation Submitted to the Graduate Faculty of the North Dakota State University of Agriculture and Applied Science By Kyle Matthew Norris In Partial Fulfillment for the Degree of DOCTOR OF MUSICAL ARTS Major Department: Music March 2012 Fargo, North Dakota North Dakota State University Graduate School Title TWENTY-FIRST CENTURY TRUMPET MUSIC OF JAMES M. STEPHENSON III By Kyle Matthew Norris The Supervisory Committee certifies that this disquisition complies with North Dakota State University’s regulations and meets the accepted standards for the degree of DOCTOR OF MUSICAL ARTS SUPERVISORY COMMITTEE: Dr. Jeremy Brekke Chair Dr. Robert Groves Dr. Kyle Mack Dr. John Helgeland Approved: April 4, 2012 Dr. John Miller Date Department Chair ABSTRACT This study examines in detail works for trumpet by James M. Stephenson III, which include unaccompanied works, short character pieces, multi-movement works, compositions for chamber ensembles, and etudes. As a modern composer, Stephenson is important for both the quantity and quality of his works. His style is characterized by beautiful lyrical lines, skillfully crafted technical passages, extreme shifts in register, and detailed attention to dynamics, articulation and phrasing. Biographical information covering Stephenson’s youth, education and career will be presented together with an examination of his compositional characteristics and influences. A selected group of works will be viewed in detail, including Call (for unaccompanied trumpet), Fanfare for an Angel (four part trumpet ensemble), Mutation for trumpet and piano, Sonata for Trumpet and Piano, Vignettes (for trumpet and percussion) and his two volumes of Day-Tudes for trumpet. These works were selected to showcase his compositional skill and versatility as well as present examples of works of substantial pedagogical value. A complete list of his compositions and a discography of all known recordings of his music will be provided in two appendices. iii ACKNOWLEDGMENTS There are a number of individuals that I would like to thank for their dedication and support throughout the years. First, I would like to thank my wife Amy, the person who has stood by my side and encouraged me to pursue my love of music. She is a wonderful individual that is giving, caring, and above all, very understanding. Also, my parents, Rondell and Teresa Norris have helped me in countless ways with their support and encouragement. They helped me seek out talented individuals with whom to study while never questioning my passion for music. Many thanks to James Stephenson for his support and input throughout this project. From its inception, Jim always was more than happy to answer my questions even when he was half way around the world. I was also fortunate to communicate with individuals that commissioned works from Stephenson including Richard Stoelzel, Eric Berlin and Tyler Knowlton. Dr. Jeremy Brekke, thank you for your guidance throughout the past years. Your teaching and playing has been inspirational. You have encouraged me to step outside my comfort zone as a player thus broadening my horizons as both a performer and educator. I would also like to thank the remaining members of my committee, Dr. Robert Groves, Dr. Kyle Mack, and Dr. John Helgeland for their guidance and support. iv PREFACE When I began searching for a topic, I discovered that a number of the subjects that interested me already had been covered at great lengths. However, over the course of the past year, I was exposed to the music of James Stephenson, first through the commission of a trumpet ensemble work that was premiered by the North Dakota State University Trumpet Ensemble at the 2011 International Trumpet Guild conference in Minneapolis, MN. For my second doctoral recital, I was searching for works that would allow me to collaborate with other performers. I had initially considered Encounters III for trumpet and percussion by William Kraft. Around this time, a good friend, Mark Degoti mentioned that he was performing the Stephenson Vignettes, which also is scored for trumpet and percussion. I immediately ordered this work and discovered it would be a suitable replacement for the Kraft. After receiving the work and playing through it, I was hooked. After my performance of Vignettes, I began to study more of Stephenson’s works with the aid of his website where one can view scores and listen to recordings of his compositions. At this point I decided to focus my research on the trumpet works of James Stephenson. v TABLE OF CONTENTS ABSTRACT………………………………………………………………………………..iii ACKNOWLEDGMENTS………………………………………………………………….iv PREFACE…………………………………………………………………………………...v LIST OF FIGURES………………………………...……………………………………...vii LIST OF MUSICAL EXAMPLES……………………………………………………….viii CHAPTER ONE. BIOGRAPHY……………………………………………………………1 CHAPTER TWO. INFLUENCES AND COMPOSITIONAL CHARACTERISTICS…….9 CHAPTER THREE. DISCUSSION OF SELECTED WORKS FOR TRUMPET………..13 CALL (FOR UNACCOMPANIED TRUMPET)………………………………….13 DAY-TUDES – VOLS. 1-2………………………………………………………..18 FANFARE FOR AN ANGEL……………………………………………………..24 MUTATION……………………………………………………………………….29 SONATA FOR TRUMPET………………………………………………………..36 VIGNETTES……………………………………………………………………….49 CHAPTER FOUR. SUMMARY…………………………………………………………..74 BIBLIOGRAPHY………………………………………………………………………….76 APPENDIX A. COMPLETE WORKS LIST……………………………………………...77 APPENDIX B. DISCOGRAPHY……………………………………………………….....83 vi LIST OF FIGURES Figures Page 1: James Stephenson on stage at Interlochen with members of the Canadian Brass, Fred Mills and Ronald Romm………………………………….2 2: James Stephenson with Charles Schlueter and Eric Berlin………………………3 3: Program from the premiere performance of the Concerto for Trumpet…………...6 4: James Stephenson with Rex Richardson…………………………………………8 vii LIST OF MUSICAL EXAMPLES Musical Examples Page 3.1: Call, mm. 1-16………………………………………………………………...14 3.2: Call, mm. 17-31……………………………………………………………….15 3.3: Call, mm. 32-38……………………………………………………………….16 3.4: Call, mm. 39-52……………………………………………………………….17 3.5: Bach to the Beginning, mm. 1-22……………………………………………..20 3.6: Amuse bouche – Intermezzo, mm. 1-26……………………………………….21 3.7: Running on Empty, mm. 1-32…………………………………………………23 3.8: Fanfare for an Angel, mm. 1-8………………………………………………..26 3.9: Fanfare for an Angel, mm. 21-32……………………………………………..28 3.10: Fanfare for an Angel, mm. 39-45……………………………………………29 3.11: Mutation, mm. 1-15…………………………………………………….........31 3.12: Mutation, mm. 39-75………………………………………………...............32 3.13: Mutation, mm. 76-88………………………………………………………...33 3.14: Mutation, mm. 126-149……………………………………………………...34 3.15: Mutation, mm. 175-226……………………………………………………...35 3.16: Sonata for Trumpet, Mvt. I, mm. 1-20………………………………………37 3.17: Sonata for Trumpet, Mvt. I, mm. 47-67……………………………………..38 3.18: Sonata for Trumpet, Mvt. I, mm. 68-76……………………………………..39 viii 3.19: Sonata for Trumpet, Mvt. I, mm. 127-148…………………………………..40 3.20: Sonata for Trumpet, Mvt. I, mm. 149-162…………………………………..40 3.21: Sonata for Trumpet, Mvt. II, mm. 1-27……………………………...............41 3.22: Sonata for Trumpet, Mvt. II, mm. 44-58……………………………….........42 3.23: Sonata for Trumpet, Mvt. II, mm. 127-148…………………………….........44 3.24: Sonata for Trumpet, Mvt. III, mm. 7-26………………………………..........45 3.25: Sonata for Trumpet, Mvt. III, mm. 63-77……………………………………46 3.26: Sonata for Trumpet, Mvt. III, mm. 125-133…………………………………47 3.27: Sonata for Trumpet, Mvt. III, mm. 173-193…………………………………47 3.28: Sonata for Trumpet, Mvt. III, mm. 222-229…………………………………48 3.29: Vignettes, “Running with Lionel,” mm. 1-10……………..…………………50 3.30: Vignettes, “Running with Lionel,” mm. 16-25…………………..…………..51 3.31: Vignettes, “Running with Lionel,” mm. 45-54………………………..……..52 3.32: Vignettes, “Running with Lionel,” mm. 55-73……………..………………..53 3.33: Vignettes, “Running with Lionel,” mm. 90-97……………..………………..54 3.34: Vignettes, “Chasing Igor,” mm. 1-20……………..………………………….55 3.35: Vignettes, “Chasing Igor,” mm. 26-44……………..………………………...56 3.36: Vignettes, “Chasing Igor,” mm. 45-73……………..………………...............57 3.37: Vignettes, “Chuck’s March,” mm. 1-20……………..……………………….59 3.38: Vignettes, “Chuck’s March,” mm. 27-40…………......……………...............60 3.39: Vignettes, “Dinner with Andre,” mm. 1-25……………..…………...............62 ix 3.40: Vignettes, “Dinner with Andre,” mm. 41-55……………..…………….........64 3.41: Vignettes, “Dinner with Andre,” mm. 61-82……………..…………….........65 3.42: Vignettes, “Waltz in Berlin,” mm. 1-8……………..………………………...66 3.43: Vignettes, “Waltz in Berlin,” mm. 9-19……………..……………………….67 3.44: Vignettes, “Waltz in Berlin,” mm. 56-67……………..……………………...68 3.45: Vignettes, “MAX,” mm. 1-16……………..…………………………………70 3.46: Vignettes, “MAX,” mm. 46-55……………..………………………………..72 3.47: Vignettes, “White on White,” m. 1……………..……………………………73 x CHAPTER ONE. BIOGRAPHY James M. Stephenson III was born on February 4, 1969 in Joliet, IL. He spent the first fourteen years of his life in Lockport, IL, a suburb of Chicago located northeast of Joliet. Stephenson grew up in a family with strong musical ties. His father James was an electrical engineer who had a love of keyboard instruments. He built an electronic organ from scratch, which is still in use at his hometown church forty-five years later. He also developed and built one of the first synthesizers. It was fully functional and of high quality for the time, but it proved to be too expensive to produce and sell. Shirley, his mother, sang in their church choir and played flute. His brother Michael played trumpet, and his sister Patricia was active in various areas