Pedagogical Insights to Successful English Horn Performance: A Guide for College-Level Oboists

Item Type text; Electronic Dissertation

Authors Behmer, Cynthia Lynn

Publisher The University of Arizona.

Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.

Download date 05/10/2021 08:19:42

Link to Item http://hdl.handle.net/10150/202700 PEDAGOGICAL INSIGHTS TO SUCCESSFUL ENGLISH HORN PERFORMANCE: A GUIDE FOR COLLEGE-LEVEL OBOISTS

by Cynthia Lynn Behmer

______Copyright © Cynthia Lynn Behmer 2011

A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of

DOCTOR OF MUSICAL ARTS

In the Graduate College THE UNIVERSITY OF ARIZONA

2011

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THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE

As members of the Document Committee, we certify that we have read the document prepared by Cynthia Behmer entitled Pedagogical Insights to Successful English Horn Performance: a Guide for College-Level Oboists and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts.

______Date: 5/19/11 Neil Tatman

______Date: 5/19/11 William Dietz

______Date: 5/19/11 Jerry Kirkbride

Final approval and acceptance of this document is contingent upon the candidate's submission of the final copies of the document to the Graduate College.

I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement.

______Date: 5/19/11 Document Director: Neil Tatman

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STATEMENT BY AUTHOR

This document has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library.

Brief quotations from this document are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder.

SIGNED: _____Cynthia Behmer_____

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ACKNOWLEDGEMENTS

I wish to express my sincerest gratitude and appreciation to the many individuals whose assistance, during the completion of this document and degree, helped me to accomplish my goals.

I am thankful for the encouragement and tremendous support that my husband,

Scott, gave to me throughout my degree journey.

I am grateful for Dr. Neil Tatmans mentorship and his vital assistance with the completion of this document. I am appreciative of the guidance that Dr. Will Dietz, Mr.

Jerry Kirkbride, and Dr. Janet Sturman have shown me in my academic and musical endeavors.

I am thankful for the professional English horn players, Thomas Stacy and

Carolyn Hove, whom I first heard through recordings and later in-person while participating in their seminars and master classes. I am appreciative of their advice and inspiring artistry.

I am thankful for the instrument makers, Sand Dalton and Robert H. Cronin, for their assistance in acquiring photographs. In addition, photographer Edwin Serrano, for taking detailed pictures of my own instruments for inclusion in this document.

Finally, I am thankful for my Mom and Dad, grandparents, and family whose love and support helped me to pursue and realize my goals.

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DEDICATION

Dedicated with love and gratitude to my parents,

Bill and Alice Kutzer

and to my husband,

Scott Behmer

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TABLE OF CONTENTS

LIST OF MUSICAL EXAMPLES ...... 8

LIST OF TABLES ...... 9

LIST OF ILLUSTRATIONS ...... 10

LIST OF PHOTOGRAPHS ...... 11

ABSTRACT ...... 12

INTRODUCTION ...... 13

CHAPTER 1. BRIEF HISTORY OF THE ENGLISH HORN ...... 18

Terminology: the European Renaissance Treble Double-Reed ...... 19

Instrument Makers at the French Royal Court, c. 1650 ...... 24

Physical Profiles and Function of Tenor Oboes, c. 1650-1750, Throughout Europe ....28

Final Phases Toward the Making of the Modern English Horn: Physical Profiles and Popularity ...... 37

CHAPTER 2. A REVIEW OF LITERATURE: PUBLISHED ETUDES AND PERFORMANCE INFORMATION SPECIFIC TO THE ENGLISH HORN ...... 51

CHAPTER 3. GENERAL COMPARISONS BETWEEN THE ENGLISH HORN AND OBOE ...... 61

Instrument Size and Supports ...... 61

English Horn Reed Making ...... 68

The English Horn Staple and Bocal ...... 76

Air Support...... 79

Pitch and Range ...... 81

Specialized Fingerings ...... 83 7

TABLE OF CONTENTS – Continued

CHAPTER 4. PEDAGOGICAL APPROACHES FOR THE NOVICE ENGLISH HORN PLAYER ...... 84

Developing the English Horn Through the Study of Standard Oboe Etudes ...... 85

CONCLUSION ...... 106

APPENDIX A. STANDARD AND SPECIALIZED FINGERINGS FOR THE ENGLISH HORN ...... 107

APPENDIX B. SELECTED DISCOGRAPHY FROM ENGLISH HORN SOLOISTS: ALPHABETICAL LISTING ...... 113

APPENDIX C. PERMISSION FOR INCLUSION OF MUSICAL EXAMPLES ...... 122

APPENDIX D. PERMISSION FOR INCLUSION OF PHOTOGRAPHS ...... 127

DISCOGRAPHY ...... 130

REFERENCES ...... 132

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LIST OF MUSICAL EXAMPLES

Musical Example I-1. Octave Designation for the Range of the English Horn ...... 16 Musical Example 1-1. Bach, BWV 28, Aria “Gottlob! nun geht das Jahr zu Ende,” mm. 1-4 ...... 34 Musical Example 1-2. Bach, BWV 16, Aria “Geliebter Jesu, du allein,” mm. 1-4 ...... 34 Musical Example 1-3. Gluck, La danza, “Va: della danza è l’ora”, mm. 1-33 ...... 41 Musical Example 1-4. Haydn, Symphony No 22, mvt 1, mm. 9-15 ...... 44 Musical Example 2-1. Bozza, Divertissement, mm. 145-154, English Horn ...... 54 Musical Example 2-2. Ravel, Mother Goose Suite, III: mm. 175-204, Oboe I and English Horn ...... 55 Musical Example 3-1. Desired Crowing Tones of an English Horn Reed ...... 72 Musical Example 3-2. Excerpt from Long Tone Warm-Up for Oboe and English Horn by Neil Tatman ...... 80 Musical Example 3-3. Comparing the Oboe and English Horn: Pitch and Range ...... 81 Musical Example 4-1. Barret, No. 5 from Forty Progressive Melodies ...... 85 Musical Example 4-2. de Falla, Three Cornered Hat ...... 87 Musical Example 4-3. Tchaikovsky, Romeo and Juliet Fantasy Overture ...... 88 Musical Example 4-4. Dvořák, Symphony No. 9, mvt II ...... 89 Musical Example 4-5. Ferling, Number 16 from 48 Famous Studies ...... 93 Musical Example 4-6. Tchaikovsky, Nutcracker Ballet, Act I, Scene VI ...... 96 Musical Example 4-7. Barret, No. 18 from Forty Progressive Melodies ...... 98 Musical Example 4-8. Additional Exercise to Accompany Barret, No. 18 ...... 100 Musical Example 4-9. Berlioz, Roman Carnival Overture, mm. 27-43 ...... 101 Musical Example 4-10. Left, Measure 2 from Etude No. 18 by Barret in Compound Triple Meter; Right, Measure 1 from William Tell Overture English Horn Solo by Rossini in Simple Triple Meter ...... 102 Musical Example 4-11. Rossini, William Tell Overture ...... 103 Musical Example 4-12. English Horn and Flute Parts for William Tell Overture by Rossini, mm. 176-203 ...... 104

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LIST OF TABLES

Table 1-1. Timeline for the European Tenor Double Reed Instruments ...... 38 Table 1-2. Combining Aspects of Existing Tenor Double Reeds to Create the English Horn, c. 1720 (Not Drawn to Scale) ...... 39 Table 3-1. Stages of English Horn Reed Making (with Prepared Cane) ...... 74 Table 4-1. Specialized Fingerings for Barret, No. 5 ...... 86 Table 4-2. Specialized Fingerings for Musical Example 4-5 ...... 90 Table 4-3. Specialized Fingerings for Ferling, Number 16 ...... 95 Table 4-4. Specialized Fingerings for Barret, No. 18 ...... 99 Table A-1. Standard and Specialized Fingerings for the English Horn ...... 108

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LIST OF ILLUSTRATIONS

Illustration 1-1. General Physical Profile of Taille de Hautbois, 17th and 18th Centuries ...... 29 Illustration 1-2. General Physical Profile of the Oboe da Caccia, 1720-60 ...... 32 Illustration 1-3. General Physical Profile of Vox Humana, c. 1750-1790 ...... 36 Illustration 1-4. Left: Gentle Curvature of the English Horn Body in Late 18th Century; Right: Angular Connection at the Joint ...... 46 Illustration 1-5. English Horn, c. 1860 ...... 48 Illustration 1-6. Alt[h]oboe, c. 1875 ...... 50 Illustration 2-1. Left, Generic Short-Scrape; Right, Long-Scrape English Horn Reed (Not Drawn to Scale or Specific Dimensions ...... 59 Illustration 3-1. Defining the Sections and Materials of the English Horn Reed ...... 69 Illustration 3-2. Point of Contact Between Bocal and English Horn Bore (Not Drawn to Scale) ...... 73 Illustration 3-3. English Horn Reed: Suggested Measurements (Not Drawn to Scale) ...... 75 Illustration A-1. English Horn Key Identification for the Standard and Specialized English Horn Fingering Chart ...... 107

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LIST OF PHOTOGRAPHS

Photograph I-1. System of Finger Identification ...... 17 Photograph 1-1. Shawms. Left to Right: Soprano Shawm, Alto Shawm, Tenor Shawm...... 20 Photograph 1-2. Reproduction of Taille de Hautbois, c. 1700 ...... 23 Photograph 3-1. Left, Lorée Oboe; Right, Lorée English Horn ...... 63 Photograph 3-2. Left, Lorée Oboe Bell; Right, Lorée English Horn Bell ...... 64 Photograph 3-3. Left, Lorée Oboe; Right, Lorée English Horn: a Closer View ...... 65 Photograph 3-4. Left, Finished Oboe Reed; Right, Finished English Horn Reed ...... 68 Photograph 3-5. Left to Right, Bocal Manufacturers: Dallas (D), Fox (F), Hiniker (H), Lorée (L), Ross (R), Selmer (S ...... 78

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ABSTRACT

The English horn has persevered as a popular solo instrument by the many composers who have written for it since its inception as a member of the oboe family at the Court of Louis XIV in the seventeenth century. While modern English horn popularity and performance practice continues to flourish through new literature, master classes, and recordings, a review of the existing literature reveals that there is a need for an informative guide for advanced, college-level oboists who wish to begin doubling on the English horn. The present study is intended to serve as a comprehensive resource for the novice English hornist who seeks pedagogical advice on the development of specialized performance techniques, along with a discussion on the significant differences between the oboe and English horn, specialized English horn reed making tools and supplies, and procedures for making and finishing long-scrape English horn reeds. Additionally, this study includes a brief history of the English horn and a discography of selected English horn recordings. Finally, a discussion of selected etudes from A.M.R. Barret’s Forty Progressive Melodies and W. Ferling’s 48 Famous Studies and correlating symphonic English horn excerpts concludes the study.

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INTRODUCTION

The hautbois first appeared in France during the first half of the seventeenth century at the Royal Court of King Louis the XIV, and quickly became popular across

Europe. The remaining indoor treble double-reed family members, including the haute- contre de hautbois and the taille de hautbois, emerged alongside the hautbois and ultimately transitioned into the modern-day oboe, oboe d’amore, and English horn. As an orchestral solo instrument, this tenor double reed instrument (referred to as the taille de hautbois, oboe da caccia, or English horn depending upon the time period and composer) was featured frequently in early symphonic scores by Lully, Gluck, Bach and Haydn. As the symphonic and opera orchestra instrumentations were expanded and compositional styles were developed, the English horn has continued to be utilized as a prominent solo voice in significant works by Rossini, Berlioz, Wagner, Ravel, Stravinsky, Prokofiev, and

Shostakovich. Additionally, composers such as Donizetti, Yvon, Bozza, Hindemith,

Persichetti, Ned Rorem, and John Marvin have written important sonatas, concertos, and solo works for the instrument.

Since 1970, an even greater awareness and popularity of the English horn has come about through the proliferation of performances, master classes, and recordings by artists such as Thomas Stacy, Carolyn Hove, and Julie Ann Giacobassi. Oboe and English horn historians such as Geoffrey Burgess, Bruce Haynes, and Michael Finkelman have published detailed, up-to-date information on the historical development of the English horn. Additionally, writers such as Leon Goossens, Edwin Roxburgh, Marrion Whittow, 14

Evelyn Rothwell, and Geoffrey Browne have all made admirable contributions to the literature about the English horn. A detailed review of their contributions will be discussed in Chapter 2.

Throughout the course of researching this document, I observed that there is a surprisingly small amount of practical information in the published literature that the college-level oboist can access that will enable him/her to successfully investigate the specialized performance considerations of the English horn. It is my intention to address that situation by creating a comprehensive resource for these oboists who have little or no specialized training in English horn performance.

This study will begin with a brief history of the English horn, followed by a comparison of the oboe and the English horn and includes details regarding relative instrument sizes, performance ranges, reeds (including supplies and tools), bocals and staples, and a discussion on air and embouchure support. Additionally, the study will include a pedagogical discussion focusing on the development of English horn performance skills, such as specialized fingerings, through the study of standard oboe etudes and correlating symphonic excerpts.

In order to produce a pedagogical method to study standard symphonic

English horn excerpts, I reviewed two commonly used oboe etude books: A Complete

Method for the Oboe by A.M.R. Barret and 48 Famous Studies for Oboe or Saxophone by W. Ferling, revised by Albert Andraud. I was able to identify several English horn performance concerns within these oboe etude books such as range, the use of specialized fingerings, troublesome rhythms, and difficult articulations that I found to be compatible 15 with specific symphonic excerpts. The following oboe etudes will be discussed in this study: No. 5 and No. 18 from Forty Progressive Melodies by Barret and number 16 from

48 Famous Studies by Ferling, revised by Andraud. The following compatible symphonic excerpts will be discussed: Roman Carnival Overture and Rob Roy Overture by Hector

Berlioz, Three Cornered Hat by Manuel de Falla, “Nuages” from Three Nocturnes by

Claude Debussy, Symphony No. 9 by Antonin Dvořák, Capriccio Espagnol by Nikolai

Rimsky-Korsakov, William Tell Overture by Gioachini Rossini, Romeo and Juliet

Fantasy Overture and Nutcracker Ballet by Peter Tchaikovsky.

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In order to clarify references to specific pitches, the following system of octave designation will be used (see Musical Figure I-1, below). Selected etudes are intended to be played on the English horn and will sound a major fifth below the written key area.1

Musical Example I-1. Octave Designation for the Range of the English Horn.

b c1 → c2 → c3 →

1 Barret’s melodic etudes are accompanied by a bass clef part intended for an instrument in the key of ‘C’. In order for an English hornist to practice the Barret etudes with a bass clef instrument in the key of ‘C’, such as the bassoon, the bass clef part will need to be transposed down a Perfect 5th or up a Perfect 4th. 17

Specialized fingerings will be explained using the following system of finger identification (Photograph I-1, below):

Left Hand

1

2

3

Right Hand

1

2

3

Photograph I-1. System of Finger Identification.2

2 Photograph by Edwin Serrano. 18

CHAPTER 1. BRIEF HISTORY OF THE ENGLISH HORN

A thorough historical account of the modern English horn can be traced back to the inception of the treble double-reed instrument in ancient Greece. The focus and aim of this chapter is to give the college-level oboist a basic understanding of how the modern

English horn evolved into its present physical form and moniker. Oboe historians and authors, Bruce Haynes and Geoffrey Burgess, have published numerous articles and books regarding detailed history and development of the oboe, just as Michael Finkelman has composed several in-depth articles for New Groves Dictionary of Music Online about the larger members of the oboe family.3

3 Geoffrey Burgess and Bruce Haynes, The Oboe (New Haven: Yale University Press, 2004), 73. The Oboe co-authored by Burgess and Haynes is the most recent and most comprehensive source for historical information pertaining to the oboe family since the publication of the well respected source, The Oboe: An Outline of its History, Development and Construction, 3d ed. (1975), by Philip Bate. Dr. Burgess holds a PhD in musicology and is a noted baroque oboe specialist in both performance and musicology. Dr. Haynes holds a PhD in musicology and specializes in the historical development of the oboe and hautbois. The Oboe by Burgess and Haynes will be my primary source of information regarding the development of the oboe. English horn research authored by historian, Michael Finkelman, can be found in Groves Music Online by subscription (either personal or through one’s university affiliation), or in various issues of The Double Reed, a quarterly publication of the International Double Reed Society. 19

Terminology: the European Renaissance Treble Double-Reed

To better understand the transitional European double-reed family of the mid-17th century, a concise overview of double-reed terminology from that time period is necessary. The shawm, a popular treble double-reed instrument of the European

Renaissance, was an adaptation of the double-reed instruments that were brought to

Europe from the Middle East during the 5th Crusade (1217-21).4 The shawm family is considered to be the immediate predecessor of the modern oboe family. During the

Renaissance, shawms were primarily played outdoors and typically heard in small consorts.

The term “shawm” can refer to a single instrument, most commonly the soprano voice, or when pluralized refers to a family of instruments representing different voices of a consort. Photograph 1-1, below, shows the soprano, alto, and tenor voiced shawms. It should be noted that the alto, tenor, and lower voiced shawms were also commonly referred to as the bombarde (Eng.), chalemelle (Fr.), or Pommer (Ger).

4 Geoffrey Burgess and Bruce Haynes, The Oboe, (New Haven: Yale University Press, 2004), 9; Janet K. Page, et al., “Oboe,” Grove Music Online, http://www.oxfordmusiconline.com.ezproxy1.library.arizona.edu/subscriber/article/grove/music/40450?q= oboe&search=quick&source=omo_gmo&pos=1&_start=1#firsthit (accessed September 15, 2010). 20

Photograph 1-1. Shawms. Left to Right: Soprano Shawm, Alto Shawm, Tenor Shawm.5

During the Renaissance, instrumental music ensembles were an essential part of society and were largely divided into two groups, haut and bas. The French term haut

(high and loud) refers to loud instruments or instruments that could easily be heard in an outdoor setting. The French term bas (low and soft) refers to the instruments that had a softer timbre and were perhaps more suitable for indoor functions. Shawms were considered loud instruments, or haut, and many manuscripts and iconography serve as

5 Robert H. Cronin, “RHC: Historical Wind Instruments After Museum Originals; Shawms,” http://www.roberthcronin.com/shawms.htm (accessed September 7, 2010). 21 evidence of their popularity. De Inventione et Usu Musicae written by music theorist

Johannes Tinctoris around 1480, describes a type of haut ensemble known as the alta capella or alta.6 The alta ensemble consisted of two to five musicians with the most common form including two shawms (alto and tenor) and a sackbut. The alta ensemble became the most standard haut instrument ensemble by about 1450.7 Illustrations of alta capella ensembles are depicted in period paintings featuring outdoor settings with people dancing, eating, and enjoying the moment. Lucas von Valckenborch’s Spring Landscape painting from 1587, as well as Chasse au faucon a la cour de Philippe le Bon

(anonymous) and Cristoforo de’ Predis’ Garden of Delights dated before 1470, are strong sources of evidence of the courtly and civic functions of alta ensembles.8 The family of shawms continued to be important components of musical entertainment through the 17th century, but not before making important transitions and modifications for indoor settings and functions around 1650.

At the French Royal Court of King Louis the XIV, c. 1650, a new treble double- reed instrument appeared. Compared to the shawm, the sound of the new instrument was considerably more compatible with the bas string ensembles, dominated by the violin family. In order to blend and perform with the bas instruments, a change of timbre, an

6 Howard Mayer Brown and Keith Polk, “Alta,” Grove Music Online, http://www.oxfordmusiconline.com.ezproxy2.library.arizona.edu/subscriber/article/grove/music/00676?q= alta&search=quick&source=omo_gmo&pos=1&_start=1#firsthit (accessed April 8, 2011).

7 Allan Atlas, Renaissance Music: Music in Western Europe, 1400-1600 (New York: W.W. Norton & Company, 1998), 226.

8 Atlas, Renaissance Music, 227; Christopher Hogwood, Music at Court (Great Britain: T & A Constable Ltd., 1977), 21; Lorenz Welker, “Wind Ensembles in the Renaissance,” in Companion to Medieval and Renaissance Music, ed. by Tess Knighton and David Fallows (Los Angeles: University of California Press, 1992), 147. 22 extension of range, and a variety of tonality was essential.9 The new instrument was named the hautbois: haut meaning high or loud (carried from the function of the shawm) and bois meaning wood, essentially high-wood. Therefore, to take place of the soprano, alto, and tenor shawm were the hautbois (oboe), haute-contre de hautbois (oboe d’amore), and the taille de hautbois (English horn) respectively. Photograph 1-2 (below) is a reproduction of a taille de hautbois by American instrument maker, Sand Dalton.10

9 Burgess and Haynes, The Oboe, 29; Bruce Haynes, A History of Performing Pitch: The Story of “A” (Maryland: The Scarecrow Press, Inc.), 100.

10 Sand N. Dalton, “Sand N. Dalton: Baroque and Classical Oboes; Baroque Oboes a = 392hz,” Sand N. Dalton,. http://www.baroqueoboes.com/OBOES/oboe392.html (accessed April 8, 2011). It should be noted that for purposes of this document, profile characteristics are more important than length or bore size. A comprehensive and detailed physical description of the hautbois can be found in Bruce Haynes’ book, The Eloquent Oboe: A History of the Hautboy from 1640 to 1760 (Oxford: Oxford University Press, 2001). The French term taille was used from the sixteenth to the end of the eighteenth century to denote the ‘tenor’ or middle part; hence taille de hautbois for the tenor shawm or taille de violon for the viola or, from 1660, the tenor oboe. 23

Photograph 1-2. Reproduction of Taille de Hautbois, c. 1700.11

11 Sand N. Dalton, “Baroque and Classical Oboes,” Sand N. Dalton,. http://www.baroqueoboes.com/OBOES/oboe392.html (accessed April 8, 2011). 24

Instrument Makers at the French Royal Court, c. 1650

The tenor-voiced double-reed instrument, taille de hautbois, emerged at the

French Royal Court of King Louis XIV during the mid-17th century alongside the hautbois.12 The taille de hautbois, pitched in the key of F, functioned as the tenor voice of the double-reed consort.13 King Louis XIV was a major patron of the arts and royal money generously supported several ensembles and musicians. As a result, instrument makers employed by the French Royal Court (FRC) enjoyed the benefits of unreserved resources needed to experiment with instrument making. The Philidor and Hotteterre families are attributed with the early development of the hautbois, as well as several other woodwind instruments, at the royal court.14

The Douze Grands Hautbois (Twelve Great Oboes) was just one of the many wind groups of the Grand Écurie (Royal Equerry or Military Band). The musicians who played in these ensembles were employed by the FRC and therefore achieved royal honor. The Douze Grands Hautbois, a consort of twelve hautbois (including the hautbois, haute-contre de hautbois, taille de hautbois, and basse de hautbois) performed as a consort and in the company of strings and were considered to be the finest hautbois

12 Michael Finkelman, “Tenor Oboes” Grove Music Online ed by Janet K. Page et al., http://www.oxfordmusiconline.com.ezproxy1.library.arizona.edu/subscriber/article/grove/music/40450 (accessed April 8, 2010).

13 The other treble double-reed voices of the consort were the soprano hautbois (pitched in the key of C) and the alto haute-contre de hautbois (pitched in the key of A).

14 Burgess and Haynes, The Oboe, 28. 25 players at court.15 The new indoor families of hautbois instruments proved to be an integral part of music at the FRC. Due to the interest of the FRC and French culture in general by other European countries, the traveling musicians of the Grand Écurie (who were playing the latest modified instruments) were highly influential on other musicians and the local music aesthetic.16

At the French Royal Court, Jean Hotteterre père (c. 1605-90/92) was an essential figure in the development of the hautbois. Hotteterre, an established Parisian woodwind maker and performer, was appointed to the court ensemble Hautbois et musette de

Poitous in 1651 and the well-respected Douze Grands Hautbois in 1664.17 Hotteterre père was joined by his sons Jean and Martin in both performance and instrument making.

Hotteterre’s eldest son Jean was murdered by a fellow hautbois player at the FRC in

1668; however, the youngest son Martin continued in his fathers’ post as both performer and instrument maker. The treatise, Traité de la musette (Treaty of Musette), written by

Borjon de Scellery in 1672, includes a statement regarding Hotteterre père:

…unique as a maker of all kinds of wooden, ivory, and ebony instruments, such as musettes, flutes, flageolets, hautboys, and crom[h]ornes. He is also known for making such instruments perfectly in tune…His sons are in no way inferior to him in the practice of this art.18

15 John Spitzer and Neil Zaslaw, The Birth of the Orchestra: History of an Institution, 1650-1815 (Oxford: Oxford University Press, 2004), 92; Burgess and Haynes, The Oboe, 37.

16 Bruce Haynes, The Eloquent Oboe: A History of the Hautboy from 1640 to 1760 (Oxford: Oxford University Press, 2001), 121.

17 Bruce Haynes, “Baptiste’s Hautbois: The Metamorphosis from Shawm to Hautboy in France, 1620-1670” in From Renaissance to Baroque: Change in Instruments and Instrumental Music in the Seventeenth Century ed. by Jonathan Wainwright and Peter Homan (Burlington: Ashgate Publishing Company, 2005), 34; Burgess and Haynes, The Oboe, 30.

18 Haynes, “Baptiste’s Hautbois” in From Renaissance to Baroque ed. by Wainwright and Holman, 35; Burgess and Haynes, The Oboe, 30. 26

The family name, Hotteterre, is practically synonymous with that of the FRC hautbois. The Hotteterre family represents four generations of woodwind makers, performers, composers, and pedagogues who primarily lived in Paris, most of whom were employed at the FRC. It should be noted that Martin Hotteterre’s son, Jacques ‘le

Romain’ Hotteterre (1673-1763), was a celebrated flautist, composer, and pedagogue.

The Philidor family relationship with the FRC began during the reign of King

Louis XIII (1610-1643) when French hautboïste Michel Danican impressed the King with his “oboe” playing abilities. Reminding him of an admired Italian “oboist” by the name of Filidori, King Louis XIII referred to him as Philidor.19 Evidence shows that it was Jean Danican (c. 1610-1679) who was the first “Philidor” employed by the FRC under the reign of King Louis XIV. By the time of André Danican Philidor (c. 1652-

1730), son of Jean Danican, the family name Philidor had been completely adopted.

The Philidors were primarily a family of performers and held appointments in some of the more prominent ensembles at the FRC for four generations. Jean served in the Grand Écurie in 1654 and André performed in several wind ensembles, including the

Douze Grands Hautbois to which he was appointed in 1681. André was appointed music librarian in 1684 and produced some of the most admirable musical records, creating nearly 50 volumes of French court music from the 16th and 17th centuries known as the

19 Philip Bate, The Oboe: an Outline of its History, Development and Construction, 2d ed (London: E. Benn, 1975), 158; Rebecca Harris-Warrick and Julian Rushton, “Philidor [Filidor],” Grove Music Online, http://www.oxfordmusiconline.com.ezproxy1.library.arizona.edu/subscriber/article/grove/music/42637pg1 #S42637.1 (accessed September 19, 2010).

27

Philidor Collection.20 Additionally, André regularly composed music for the court ensembles and following the death of FRC composer Jean-Baptiste Lully in 1687, made an effort to compose stage works. The synergy between the composers, the instrument makers, and performers of the Hotteterre and Philidor families resulted in a successful transformation of the hautbois as an indoor instrument at the court of King Louis XIV.

20 Spitzer and Zaslaw, The Birth of the Orchestra, 104. 28

Physical Profiles and Function of Tenor Oboes, c. 1650-1750, Throughout Europe

At the French Royal Court with Jean Hotteterre ‘père’ at the helm, the taille de hautbois was first constructed in the same profile as that of the hautbois, which primarily followed the profile of the established shawm.21 Illustration 1-1 (below) demonstrates the general physical profile of the taille de hautbois between 1650 and 1700.22 The approximate acoustical length, the length measured between the top of the instrument and tone 6, is considered by scholars to be an accurate description of the instruments’ overall size because the shape and size of the bell varied greatly.23 In addition, researchers are acutely interested in measuring all aspects of the bore and tone holes of existing period instruments in order to better understand and identify the pitch that was used in a certain region and or during a certain time period.24

21 Haynes, The Eloquent Oboe, 378.

22 Burgess and Haynes, The Oboe, 74.

23 Haynes, The Eloquent Oboe, 31, 33, 94, 377. For a detailed discussion regarding acoustic lengths of many hautbois, the author recommends referencing The Eloquent Oboe by Bruce Haynes. The author would like to express that the focus of this document lies in the physical profile of tenor oboes and not the details of pitch and acoustical length for every instrument.

24 Ibid, 94. 29

Approximate acoustical length of instrument, measuring between top of instrument and tone 6 is 420 millimeters or about 16.5 inches.

taille de hautbois c. 1650 taille de hautbois c. 1700

Illustration 1-1. General Physical Profile of Taille de Hautbois, 17th and 18th Centuries.25

The addition of the bulb bell to the straight body of the taille de hautbois was most likely added by German woodwind makers but was not necessarily a new idea.26

Bulb bells had already been in use on other double reed aerophones such as bagpipes

(chanters and drone pipes) across the Iberian Peninsula and into Eastern Europe. In the

17th Century, the taille de hautbois functioned as the tenor voice in the double-reed

25 Haynes, The Eloquent Oboe, 377.

26 Michael Finkelman, “Larger and Smaller European Oboes,” Grove Music Online, http://www.oxfordmusiconline.com.ezproxy1.library.arizona.edu/subscriber/article/grove/music/40450?q=t aille+de+hautbois&search=quick&pos=4&_start=1#S40450.3 (accessed September 19, 2010). 30 consorts of France, Italy, England, and other regions of North and Central Europe.27

Within each geographical region the taille de hautbois excelled in different genres of music making.

The first pieces written for the taille de hautbois were by the French Royal Court composer, Jean-Baptiste Lully, who scored for the instrument in ballets such as,

Alcidiane (1658), L'impatience (1661), Les noces de village (1663), and the stage work

La princesse d'Elide (1664). The primary role of the taille de hautbois was to play the tenor line, as its name suggests.28 The taille de hautbois proved to make a lasting impression on Pascal Collasse (1649-1709), a disciple of Lully. Collasse composed several ballets and operas and wrote a taille de hautbois solo in his ballet Énée et Lavinie

(1690). Outside of the FRC, the taille de hautbois was used in theatre and concert works through the mid 18th century.

27 Ibid.

28 Haynes, The Eloquent Oboe, 378. 31

The taille de hautbois did not arrive in England until 1673, pronounced and spelled in English as “tenner hautboy,” and were chiefly used in dramatic theatre and opera, the popular stage works at the time. The first English composer to use the “tenner” instrument in such a work was composer Henry Purcell (1659-1695) in The Prophetess or The History of Dioclesian in 1690.29

In Germany the taille de hautbois were heard primarily in church compositions by

Johann Sebastian Bach (1685-1750). Bach wrote extensively for all three hautbois voices

(soprano, alto, tenor), most notably in his cantatas. The uninformed person may need clarification when deciphering the treble double-reed instrumentation called upon in

Bach’s scores and parts, particularly between the taille de hautbois (sometimes indicated simply as taille) and oboe da caccia. The oboe da caccia, a tenor double-reed, will be explained further in the following paragraph but it should immediately be noted that in

Germany, the oboe da caccia and the taille de hautbois were in use at the same time. In addition, the French term taille broadly referred to any instrument that played the middle part, or tenor part, of a consort and in Bach’s scores it refers to an hautbois in the key of

F. 30

The oboe da caccia and taille de hautbois were both tenor double reed instruments pitched in F but differed greatly from one another in construction and sound.

The oboe da caccia, popular between 1720 and 1760, was one of the most dramatically

29 Finkelman, “Larger and Smaller European Oboes,” in Grove Music Online, (accessed September 19, 2010).

30 Owen Jander, "Taille," Grove Music Online, http://www.oxfordmusiconline.com.ezproxy1.library.arizona.edu/subscriber/article/grove/music/27389 (accessed April 8, 2010). 32 shaped tenor oboes. The Leipzig woodwind maker, Johann Heinrich Eichentopf (c. 1686-

1769), built oboes da caccia in the shape of a semicircle (from one piece of wood) fitted with a flared bell made of brass. In order to obtain the smooth wooden curvature, notches were cut into the wood and then covered with leather to seal the instrument.31 In shape, the oboe da caccia resembled the brass hunting horn and thus the Italian term caccia

(hunt) was given to the new oboe family instrument. See Illustration 1-2 below.

Illustration 1-2. General Physical Profile of the Oboe da Caccia, 1720-60.

During his post as Kantor at the Thomasschule in Leipzig (1723-9), Bach came into contact with leading woodwind musicians. Johann Caspar Gleditsch held the distinguished position of Stadtpfeifer (town wind player) and Bach, who was fond of

Gleditsch’s hautbois and oboe da caccia skills, wrote several hautbois and oboe da

31 Burgess and Haynes, The Oboe, 74. 33 caccia obbligatos for Gleditsch. In solo passages, Bach writes specifically for the oboe da caccia while specifying the taille de hautbois in non-solo parts, reflecting the consort function of the taille.32 A brief comparison between two Leipzig era cantatas will demonstrate the different function of the oboe da caccia obbligato and consort taille writings of Bach.

Musical Example 1-1 (below) displays the first four measures of the score for

BWV 28, “Gottlob! nun geht das Jahr zu Ende” (1725) by Bach. Scored for two hautbois and one taille, it is easily observed that the function of the taille de hautbois is to perform as the tenor voice of the double reed consort. Similarly, the two violins and viola are voiced and written to function as a string consort. In comparison, Musical Example 1-2

(below), an excerpt from the tenor aria, “Geliebter Jesu, du allein” from BWV 16 (1726), indicates the oboe da caccia as the obbligato voice. Here, the tenor double reed voice is clearly written as a soloist and not part of a consort. Bach intentionally indicated specific roles for the taille de hautbois and oboe da caccia in his manuscripts even though both tenor double reed instruments were pitched in the key of F. BWV 28 was first performed on December 30, 1725 and BWV 16 on January 1, 1726. The close proximity of the performance dates serve as further evidence that Bach recognized the taille de hautbois and oboe da caccia as two distinctly different instruments and that both instruments were readily available during that time period in Germany.

32 Paul Carroll, Baroque Woodwind Instruments: A Guide to Their History, Repertoire and Basic Technique, (Aldershot: Ashgate, 1999), 95. 34

Musical Example 1-1. Bach, BWV 28, Aria “Gottlob! nun geht das Jahr zu Ende,” mm. 1-4.

Musical Example 1-2. Bach, BWV 16, Aria “Geliebter Jesu, du allein,” mm. 1-4.

On further inspection of research regarding the function of the taille de hautbois and oboe da caccia in Bach’s scores, several principal scholars give interesting insight to 35 common performance practice. Finkelman, Burgess, and Haynes state that the taille de hautbois would not have been an adequate instrument to perform the obbligato parts marked oboe da caccia, however, it was not uncommon for the oboe da caccia to also play the parts marked taille.33

The vox humana, a tenor voiced double reed, emerged in England c. 1750 as the use of the “tenner hautboy” waned. The vox humana is credited to English instrument maker Thomas Stanesby, Jr. of London who also “authored” a fingering chart. The name of the English double reed derived from the synonymous organ stop referring to the human voice. Similar to the taille de hautbois, the physical profile of the vox humana was straight; however, the slightly flared bell was permanently fastened to the bottom joint of the vox humana (see Illustration 1-3, below). The vox humana was first heard during a performance held in a London theatre in May 1733, although its most common role was engaged at church. It was very common for churches to employ double-reed bands, in lieu of an expensive organ, to accompany the choir.34

33 Burgess and Haynes, The Oboe, 74; Page, "Oboe," Grove Music Online, http://www.oxfordmusiconline.com.ezproxy2.library.arizona.edu/subscriber/article/grove/music/40450 (accessed March 8, 2011).

34 Burgess and Haynes, The Oboe, 99. 36

Illustration 1-3. General Physical Profile of Vox Humana, c. 1750-1790.

Traveling musicians transported the vox humana to southern Italy. Italian opera composers Giovanni Paisiello, Antonio Sacchini, and G.F. de Majo wrote for the vox humana for approximately two decades, the early 1760s through 70s, and primarily in

Naples and Rome. The Italian instrument maker Giovanni Panormo fitted the vox humana with a more flaring bell than Stanesby, Jr. By 1780, the vox humana fell out of popularity and use to yet another tenor double reed, the English horn.

37

Final Phases Toward the Making of the Modern English Horn: Physical Profiles and Popularity

Several models and monikers of the tenor-voiced double reed instrument from various European regions have been discussed. An important issue, and over-reigning commonality, is that every tenor-voiced double reed instrument discussed thus far has a beginning and ending period of usage and popularity. Table 1-1, below, is a chronological chart designed to quickly present the overall picture of the various

European tenor double reed instruments. The chart shows how each tenor double reed instrument overlapped in time, what its general physical characteristics were, and from where it originated.

38

Table 1-1. Timeline for the European Tenor Double Reed Instruments 39

Double reed historian Michael Finkelman acknowledges the beginning of the modern English horn when instrument maker J.T. Weigel of Breslau fitted an oboe da caccia with a bulb bell, c. 1720 (see Table 1-2, below).35 The name of this particular

Table 1-2. Combining Aspects of Existing Tenor Double Reeds to Create the English Horn, c. 1720 (Not Drawn to Scale). Oboe da caccia Taille de new English horn body + hautbois = c. 1720 c. 1720 bell c. 1700

+ =

instrument is influenced by the German-speaking central European region. Due to the intricacy of the explanation, it is best to quote directly from Finkelman’s article:

The open-belled straight tenor oboe and particularly the flare-belled oboe da caccia reminded people of the angels’ horns depicted in medieval and later religious imagery…In Middle (High) German, the word engellisch meant ‘angelic’…With the Middle German word for ‘England’ being Engellant, the word engellisch also meant ‘English’. These dual meanings naturally became conflated, and ‘angel’s horn’ thus became ‘English horn’. This unlikely epithet remained with the curved, bulb-belled tenor

35 Breslau is the German spelling and pronunciation of the present-day Polish city of Wrocław, then occupied by Germany, located in south-western Poland. 40

oboe even after the oboe da caccia had faced (c. 1760) in the absence of any better denominations.36

One of the first composers to write specifically and significantly for the English horn was Christoph Willibald Gluck (1714 – 1787). Gluck composed for a pair of

English horns in his dramatic and pastoral one act work, La danza (1755), which premiered at the Court in Laxenburg just outside Vienna.37 In La danza, (see Musical

Example 1-3, below) Gluck has composed for a pair of English horns in the opening tenor aria, “Va: della danza è l’ora”. In this composition, the role of the English horn voice predominantly carries the melody, alternating between the violins and tenor. The interaction between the two English horns voices can be harmonically described as triadic with varying (yet complimentary) rhythmic motion.

36 Michael Finkelman, ”English Horn,” Grove Music Online, http://www.oxfordmusiconline.com.ezproxy1.library.arizona.edu/subscriber/article/grove/music/40450#S4 0450.3.4.4 (accessed April 8, 2011).

37 Rudolph Kimmig, Liner Notes from Christoph Willibald Gluck: La Corona and La Danza, trans. Roger Clément, Orchestra of the Warsaw Chamber Opera, conducted by Tomasz Bugaj, Orfeo International Music C135872H, 1987. 41

Musical Example 1-3. Gluck, La danza, “Va: della danza è l’ora”, mm. 1-33.

42

Musical Example 1-3. Gluck, La danza, “Va: della danza è l’ora”, mm. 1-33, continued.

43

Musical Example 1-3. Gluck, La danza, “Va: della danza è l’ora”, mm. 1-33, continued.

44

The compositional technique of paired English horns, executed by Gluck, continued to influence other composers of the 18th century including Joseph Haydn

(1732-1809) in Symphony 22 “The Philosopher” (1764). Paired English horns and paired

Horns are the only wind instruments in the four-movement work and Haydn utilizes all four winds in every movement. The treatment of the English horns by Haydn (shown below) is extremely similar to La danza by Gluck.

Musical Example 1-4. Haydn, Symphony No 22, mvt 1, mm. 9-15.

45

Musical Example 1-4. Haydn, Symphony No 22, mvt 1, mm. 9-15, continued.

46

By late 18th century, the shape of the English horn body began to take on a more gently curved shape; however, the bell retained its bulb-like structure. Further development in body shape continued and c. 1790, English horns took on a more angular construction joining at the joints. Illustration 1-4, below, shows both late 18th century developments in English horn shape. The popularity of this tenor double reed instrument continued to spread across Europe by means of traveling composers and musicians. In addition, the opening of the Paris Conservatoire in 1795 would go on to create a long line of talented teachers and pupils that were interested in instrument design and functionality.

The English horn continued to develop in physical shape and function in the large orchestral ensembles.

Illustration 1-4. Left: Gentle Curvature of the English Horn Body in Late 18th Century; Right: Angular Connection at the Joint. 47

Italian composer, Gioachino Rossini (1792-1868) and French composer, Hector

Berlioz (1803-1869) both wrote significant orchestral solos for the English horn. Both musical compositions, Guillaume Tell Overture (1829) by Rossini and Symphonie

Fantastique (1830) by Berlioz, involve English horn solos that are lengthy and that break away from the treatment that Gluck and Haydn explored. Similar to Bach’s composer/performer relationship with Gleditsch, Rossini composed the English horn solo in Guillaume Tell specifically for Gustave Vogt (1781-1870), soloist at the French Opéra and leading French oboist and English hornist.

Recalling the working relationship between French Royal Court musicians and instrument makers (the Hotteterres and Philidors families), Vogt and his prolific pupil

Henri Brod (1799-1839) worked closely with instrument maker Guillaume Triebért

(1770-1848) to improve the English horn. Amongst improvements made, the physical profile of the instrument changed to a straight body fitted with a bulb bell and an angled crook (see Illustration 1-5, below). In comparison, the physical profile looks very similar to the taille de hautbois, c. 1700 (Illustration 1-1).

In the 1850s, Frédéric Triebért (1813-1878), second son of Guillaume, began producing straight bodied English horns at the Triebért workshop.38 Brod, who succeeded

Vogt at the Opéra, desired to modify the English horn’s timbre and agility while maintaining the straight physical profile. Brod renamed the instrument in his native language, creating the cor anglais moderne.

38 Burgess and Haynes, The Oboe, 183. 48

Illustration 1-5. English Horn, c. 1860.

Despite the success of the Triebért workshop, Frédéric Triebért’s untimely death in 1878 started a decline towards bankruptcy.39 François Lorée (1835-1902), chief of staff at the Triebért workshop for many years, carried on the instrument-making traditions of

Triebért (oboe) and Brod (cor anglais modern) under his name at his new workshop in

1882.40 Just one year prior to the opening of Lorée’s workshop, Georges Gillet (1854-

1920) was appointed professor at the Paris Conservatoire which he held until his retirement in 1914. Gillet endorsed the Lorée instrument as the official oboe of the

39 Ibid., 172.

40 Laila Storch, “Lorée,” Grove Music Online, http://www.oxfordmusiconline.com.ezproxy1.library.arizona.edu/subscriber/article/grove/music/16982?q=f rancois+loree&search=quick&source=omo_gmo&pos=3&_start=1#firsthit (accessed March 8, 2011). 49

Conservatoire which guaranteed success of the Lorée workshop.41 The Lorée factory continues to set unprecedented standards amongst several fine oboe manufacturers.

The English horn, or cor anglais, continued as the most favorable tenor double reed instrument as the taille de hautbois, oboe da caccia, and vox humana fell out of favor and use (see Table 1-1). However, one other tenor double reed instrument was created at the request of Richard Wagner (1813-1883) for the first editions of his compositions Siegfried (1875) and Götterdämmerung (1876).42 Wagner felt that the lower voices of the oboe section were too weak and asked instrument maker J.S. Stengel

(1803-85) of Bayreuth to create an Alt[h]oboe.43

The physical profile of the Alt[h]oboe is similar to that of the vox humana (see

Illustration 1-6, below). Although Wagner wanted his new tenor double reed to replace the English horn in all of his scores, the only final score that specifically calls for the

Alt[h]oboe is Parsifal (1882). The Alt[h]oboe was performed on in the Beyreuth Festival from 1882 to 1894; nevertheless, the instrument disappeared shortly thereafter. The

English horn once again took its place as sole tenor double reed c. 1900.

41 Burgess and Haynes, The Oboe, 172.

42 Ibid., 185.

43 Finkelman, “Alt[h]oboe,” Grove Music Online, http://www.oxfordmusiconline.com.ezproxy1.library.arizona.edu/subscriber/article/grove/music/40450#S4 0450.3.4.4 (accessed April 8, 2011). 50

Illustration 1-6. Alt[h]oboe, c. 1875.

51

CHAPTER 2. A REVIEW OF LITERATURE: PUBLISHED ETUDES AND PERFORMANCE INFORMATION SPECIFIC TO THE ENGLISH HORN

A common dilemma that advanced oboists encounter when transitioning to the

English horn for the first time is that the available published information is incomplete, misleading, out of date, and severely limited. Usually, brief discussions are included in sources written primarily about the oboe. A relatively new text published in 2004, The

Oboe, co-authored by Geoffrey Burgess and Bruce Haynes, offers a significant amount of historical background information about the English horn. However, Burgess and

Haynes’ primary concentration relates to the oboe, is strictly limited to historical information, and does not address performance considerations. Oboe historian Michael

Finkelman has posted several in-depth articles on Grove Music Online that include information on the English horn.44 Finkelman’s articles are excellent sources of historical information, but they do not address performance issues.

Many compositions were written for and premiered by the legendary English oboist, Leon Goossens (1897-1988).45 Goossens was appointed to the principal oboe chair of the London Philharmonic Orchestra upon its inception in 1932 and taught at the

44 Finkelman, “English Horn,” Grove Music Online, http://www.grovemusic.com.ezproxy1.library.arizona.edu/shared/views/article.html?section=music.40450. 3.4.4 (accessed April 10, 2010).

45 Burgess and Haynes, The Oboe, 196. 52

Royal Conservatory of Music until 1939, developing an approach which many regard as the English style of oboe playing46.

In Oboe, co-authored by Goossens and his pupil Edwin Roxburgh, the authors briefly compare the size, tonal qualities, and vibrato of the English horn to the oboe. The opening statement of the English horn section states: “It is easier to produce a pleasing quality of sound on the cor anglais than on the oboe because the response is made easier by the larger size of reed and bore.”47 Agreeable as this statement may seem, in my opinion, the relative responsiveness lies not in the larger bore of the English horn but rather in the combination of instrument, bocal, and reed. Realistically, the ability to produce a pleasant tone is an equally challenging task on both the English horn and oboe.

Further, Goossens refers to The Swan of Tuonela (rev. 1900) by Jean Sibelius to illustrate his point of view on English horn vibrato as compared with that of the oboe:

“The only important difference between the playing techniques of the two instruments lies with the use of vibrato.”48 While Goossens’ statement correctly advises a difference in vibrato technique, the author falls short of providing a pedagogical approach to English horn vibrato.

Evelyn Rothwell (1916-2008) is well known as the leading female English oboist of the 20th century. Rothwell was a pupil of Leon Goossens at the Royal

Conservatory of Music and enjoyed a successful career as a soloist and

46 John Warrack and Janet K. Page, “Leon Goossens” Grove Music Online http://www.grovemusic.com.ezproxy2.library.arizona.edu/shared/views/article.html?from=search&session _search_id=1183404896&hitnum=38§ion=music.11466.5 (accessed February 24, 2011).

47 Goossens and Roxburgh, Oboe, 93.

48 Ibid. 53 symphonic oboist. She is credited with premiering the rediscovered W.A. Mozart

Oboe Concerto, K. 314 in 1934.49 Her Oboe Technique includes a brief, three page appendix to playing the English horn.50 Though Rothwell’s discussion is more up-to-date than Goossens and Roxburgh’s, she offers no suggestions regarding the approaches to the performance or pedagogy of orchestral excerpts or solo literature for the English horn. In addition, Rothwell briefly comments on some of the differences between the oboe and English horn including one paragraph on intonation that includes suggestions for fingerings, but her discussion of the suggested fingerings would benefit from further clarification and visual reinforcement.51

Oboe: A Reed Blown in the Wind written by Marion Whittow claims that there is “little need to practice fast difficult studies” on the English horn due to the longer length of the rods.52 Upon examination, one will find that the rod mechanism on both the oboe and English horn are equally effective and it is not the length of a rod, but rather the axial efficiency that determines the technical capabilities of the instrument. Whittow’s statement simply does not support the actual physical workings of the rod mechanism.

49 Philip Bate and Janet K. Page, “Evelyn Rothwell [Barbirolli],” Grove Music Online ed. L. Macy, http://www.grovemusic.com.ezproxy1.library.arizona.edu/shared/views/article.html?from=search&session _search_id=1172312866&hitnum=1§ion=music.23937 (accessed February 20, 2011).

50 Evelyn Rothwell, Oboe Technique, 3d ed (Oxford: Oxford Press, 1982), 75.

51 Rothwell, Oboe Technique, 77.

52 Whittow, Oboe: A Reed Blown in the Wind (London: Puffit Publications, 1991), 164. 54

Musically, Whittow’s statement can further be questioned by observing the technical feats called for in English horn literature by composers such as

Eugene Bozza (Musical Example 2-1, below) and Maurice Ravel (Musical

Example 2-2, below), among many others. For example, the last 10 bars of

Divertissement (1939) by Bozza illustrates the type of passage work in which an

English horn player makes use of the interactive keywork set-up by Triébert. An application of this mechanical design occurs in the fourth bar following rehearsal number 17 (Musical Example 2-1, below). Here the performer must simultaneously apply both the left-hand e-flat and a-flat keys with the left-hand

“pinky” fingers in order to facilitate the g-sharp to d-sharp interval connections in both octaves.

Musical Example 2-1. Bozza, Divertissement, mm. 145-154, English horn. . = 100+

Contrary to Whittow’s claims, in order to execute the above passage at the tempo suggested by Bozza, one does need to practice technical studies in preparation of difficult passages found throughout the English horn repertoire. 55

Musical Example 2-2 (below) is an excerpt from Mother Goose Suite (1911) by

Maurice Ravel showing the Oboe I and the doubled Oboe II/English horn parts. This excerpt shows that both the principal oboe and English horn must execute difficult fingering patterns.

Musical Example 2-2. Ravel, Mother Goose Suite, III: mm. 175-204, Oboe I and English Horn.  = c. 112

56

In an additional misleading claim, Whittow states: “…You can alter pitch considerably, without upsetting intonation, by pulling the crook out… The reed’s pitch is therefore less critical.”53 Whittow is referring to the fact that the bocal on the English horn can be used to alter pitch. However true that may be, the complete reliance upon the bocal for intonation is misleading and not sensible for the student wishing to learn the idiosyncrasies of the English horn. A well-balanced English horn reed can and should be scraped and adjusted to its desired “crowing” tone or character in similar fashion to the adjustment of oboe reeds using similar crowing techniques.54 A well-balanced English horn reed should not always depend on the placement of a bocal in its well. Regularly pulling the bocal out of its well for tuning, as Whittow suggests, is the equivalent to pulling out the oboe reed from the oboe’s reed well—which is not regularly advised.55

This issue will be further discussed in chapter 3.

Since the first publication of The Oboe: An Outline of its History, Development and Construction in 1956, Philip Bate’s text has been considered one of the leading sources of historical information available about the oboe. Though Bate briefly discusses the first appearance of the English horn in an orchestral setting, he does not explore the performance aspects of the instrument.56 Since the third revision of Bate’s book in 1975, more recent musicologists such as Burgess, Haynes, and Finkelman, have discovered

53 Whittow, Oboe, 166.

54 English horn reeds will be discussed in detail in Chapter 3.

55 Neil Tatman, The Development of Basic Oboe Technique: A Guide for Music Educators (Arizona: Oboenet Publications, 2007), 4.

56 Bate, The Oboe, 91. 57 additional historical information pertaining to the English horn and have produced up-to- date sources of information.

As the title suggests, The Art of Oboe Playing, is dedicated to the performance techniques of the oboe. The author, Robert Sprenkle, does not disregard the English horn but includes a discussion limited to a small number of

English horn bocals, few specialized fingerings, and the adjustment mechanism.

Regarding English horn bocals, none of the authors discussed thus far have addressed current trends, technologies, and influential individuals in the modern

English horn bocal arena such as Thomas Hiniker, Steve Lickman and The Dallas

Bocal Company, and A. Läubin, Inc., the majority having emerged since the publication of Sprenkle’s guide in 1961.57

Although the amount of available information dedicated to the English horn is limited, the literature that does exist should be discussed. A set of oboe etudes composed by Henri Brod (1799-1839), a French oboist and woodwind maker who attended the Paris Conservatoire, have been revised for the English horn by the English horn virtuoso and pedagogue, Thomas Stacy.58 Stacy’s biography and influences will be discussed more thoroughly in chapter five. This source allows the English hornist to explore a set of etudes that have been edited for the range of the instrument and by an English horn specialist. However, the etudes are not annotated and for an undergraduate level oboist who is

57 Robert Sprenkle, The Art of Oboe Playing (Illinois: Summy-Birchard Publishing Company, 1961), 33.

58 Thomas Stacy, ed., Brod: 20 Studies for Oboe or English Horn (New York: International Music Company, 1974), 2. 58 encountering the English horn for the first time a few comments regarding third octave fingerings may be helpful.

The Art of the Cor Anglais by Geoffrey Browne, a London based English hornist, is a compilation of annotated English horn orchestral excerpts.59 Although

Browne discusses orchestral excerpts, the solo literature of the English horn is not addressed. There are many pieces in the English horn solo repertoire that a college-level oboist should attempt if they are studying the instrument. Works such as Concertino (1817) by Gaetano Donizetti, Sonata in F Minor (1840) by

Carlo Yvon, and Sonata (1941) by Paul Hindemith are important to the list of repertoire and any new English hornist should become familiar with those works.

It is pertinent to progress in technical studies and orchestral literature, but it is equally important to develop a sonata or concerto solo approach with the English horn. Performance aspects of the above mentioned pieces, including others, will be discussed in chapter four.

Browne gives specific information regarding English horn reeds; however, they are in the style of the short scrape reed that is closely associated with the

European style of reed scraping compared to the long scrape reed that is associated with the American style of reed scraping (see Illustration 2-1, below).

Also, Browne makes no mention to the fact that he is clearly giving dimensions and suggestions for short scraped reeds. An American style oboe reed maker may be confused if only consulting Browne’s English horn reed advice. Below is a

59 Geoffrey Browne, The Art of the Cor Anglais, 3d ed. (London: Sycamore Publishing, 2005), ii. 59 generic illustration of an English horn short-scraped reed and an English horn long-scraped reed.

Illustration 2-1. Left, Generic Short-Scrape; Right, Long-Scrape English Horn Reed (Not Drawn to Scale or Specific Dimensions).

Arundo donax

wire placement on short scrape

Arundo donax shiny bark

wire placement on long scrape

staple

thread

The primary difference between the short and long scrape reed is the amount of untouched and shiny bark remaining on the finished product. In addition, the placement of the wire, if used in the long scrape tradition, is placed much closer to the opening of the staple. For purposes of comparing the two scraping styles the illustration shows reeds finished at the same length. One should keep in mind that there are many different techniques and preferred measurements of finishing within both traditions of scrapes. The long scrape, or 60

American scrape, will be discussed in chapter three. Browne does not include long scrape reed making suggestions in his The Art of the Cor Anglais.60

60 Browne, The Art of the Cor Anglais, 50. 61

CHAPTER 3. GENERAL COMPARISONS BETWEEN THE ENGLISH HORN AND OBOE

Instrument Size and Supports

The modern oboe is approximately 23 ¾ inches in length while the modern

English horn is around 31 ½ inches in length without the bocal. Depending upon the length and shape, the bocal adds nearly 3 inches of length (with the bocal fitted at the base of the bocal well) to the instrument. Both the oboe and English horn are designed with an overall conical bore that begins at the tip of the double reed and finishes at the end of the bell. The English horn, however, is designed to include a bulb-shaped bell that adds an extra open cavity of space that is not a component of modern oboe bells. English horn historian Michael Finkelman makes the following written statement regarding the

English horn bell:

“The bulb bell has long been considered the source of the distinctive tone of the modern English horn and other lower oboes. While this is still open to debate, it is clear that the voicing of the bell affects the tonal quality and response of the instrument as a whole.”61

61 Finkelman, “Larger and Smaller European Oboes” Grove Music Online, http://www.oxfordmusiconline.com.ezproxy1.library.arizona.edu/subscriber/article/grove/music/40450#S4 0450.3.4.4 (accessed April 10, 2010). 62

Photographs 3-1, 3-2, and 3-3 (below) provide a visual comparison between the oboe and English horn.62 Photograph 3-2 offers a close-up comparison of each instrument’s bells, revealing the oboe’s tone holes for b and b-flat vent compared to the

English horn’s b vent only. Photograph 3-3 points out some of the most striking key work differences between the oboe and English horn such as the elongated right-hand g- sharp/a-flat key, the elongated and split half-hole d touch-key, and lack of a low b-flat key on the English horn.

62 F. Lorée oboe, AK bore, serial number RQ 23, 2009; F. Lorée English horn. Serial number PI 61, 2003; F. Lorée bocal, number 2, 2003. 63

Photograph 3-1. Left, Lorée Oboe; Right, Lorée English Horn.63

63 Photograph by Edwin Serrano. 64

Photograph 3-2. Left, Lorée Oboe Bell; Right, Lorée English Horn Bell.64

64 Photograph by Edwin Serrano. 65

Elongated, split half-hole D touch pad

half-hole D

no Bb key

G#/Ab key

Elongated right- hand G#/Ab key

Photographs 3-3. Left, Lorée Oboe; Right, Lorée English Horn: a Closer View.65

65 Photographs by Edwin Serrano. 66

Students should take into consideration, and prepare for, the differences in size and weight between the oboe and English horn. The English horn is noticeably heavier than the oboe and some players choose to use a supportive apparatus while practicing and performing. The most common type of support available is the sling, or neck strap, which is available in an array of styles. The principal varying parts of the neck strap are the pad

(the portion of the neck strap that rests on the performer’s neck) and the strap which connects the pad to the hook (which connects to the instrument). The pad can vary in thickness and is available in a variety of absorbent materials. The strap component of the neck strap is available in a variety of flexible, or non-flexible, materials. English horn neck straps are relatively inexpensive supportive mechanisms and the author’s personal recommendation for a non-flexible neck strap is the felt-padded and adjustable Fox neck strap. Some players prefer a strap that provides elastic flexibility within the strap and the author’s personal recommendation for a flexible, or elastic, neck strap is the nylon- padded and adjustable BG neck strap.

A relatively new English horn support apparatus is the W.R.I.S.T. (Weight

Reduction Instrumental System Technology) designed by Bob Morgan of the Chicago

Reed Company and solo English horn of the Chicago Lyric Opera.66 The W.R.I.S.T. attaches to the music stand rather than to the instrument and offers a variety of flexible adjustments to suit one’s needs including a seating or standing playing position and preferred distance from music stand. The bell of the English horn rests on the extended

66 Robert Morgan, “Chicago Reed Company: W.R.I.S.T.,” Robert Morgan, http://www.chicagoreedcompany.com/wrist.html (accessed June 5, 2011). 67 hook of the W.R.I.S.T. device and absorbs the weight of the instrument. The device is expensive; however, it can also be used with the oboe. The W.R.I.S.T. is endorsed by several professional oboe and solo English horn players including Robert Walters of the

Cleveland Orchestra, Pedro Diaz of the Metropolitan Opera Orchestra, and Sherry Sylar of the New York Philharmonic.67

Several other types of support are available including, but not limited to, a non- permanent thumb rest, a permanent adjustable thumb rest, a FHRED Instrument Support which attaches from the thumb rest to the seat bottom of a chair, and a Floor Peg support

(much like a cello peg) that attaches semi-permanently to the bell of the English horn.68

67 Robert Morgan, “W.R.I.S.T.: Weight Reduction Instrumental System Technology” (brochure presented at the annual meeting of the International Double Reed Society, Tempe, AZ, June 3, 2011).

68 Quodlibet Inc., “Introducing FHRED,” Quodlibet Inc., http://www.quodlibet.com/FhredGen.php (accessed April 27, 2011). 68

English Horn Reed Making

English horn reeds are made of the same Arundo donax cane that oboe reeds consist of; however, English horn reeds require a larger size diameter of cane. The average diameter of oboe tube cane varies between 9.5 and 11 millimeters whereas tube cane harvested for the English horn measures between 11.5 and 12.5 millimeters. English horn reeds also require reed making materials that are not required for making oboe reeds. Photograph 3-4 (below) displays a finished oboe and English horn reed placed side-by-side for comparison. Most notably (from top to bottom) the English horn cane is longer and wider, a wire has been added to the English horn reed, the English horn staple is cork-less, and a small piece of plastic tubing has been attached to the bottom end of the

English horn staple to help seal when placed upon the bocal. To clarify the anatomy of

Photograph 3-4. Left, Finished Oboe Reed; Right, Finished English Horn Reed. 69 the English horn reed as well as some of the materials used in the reed making process,

Illustration 3-1, (below), delineates the English horn reed’s components.

tip Arundo donax heart

back

shiny bark or rails

wire placement

staple

thread plastic tubing for a tight seal

Illustration 3-1. Defining the Sections and Materials of the English Horn Reed.

In order to make English horn reeds it is advantageous for one to purchase the following specialized English horn reed tools and materials: a mandrel, an easel, a supply of cane (at whatever processed stage you require), a shaper tip, staples, 28 gauge wire, and plastic tubing.69 If absolutely necessary, the above list may be reduced to the very basics: cane, staple, and plastic tubing. Ideally one should own an English horn mandrel, but if necessary, it is possible to convert an oboe mandrel for English horn staple use. By stripping the cork and cement residue from the oboe staple and placing it onto an oboe

69 The author assumes that the student possessed oboe reed making tools and understands the basics of oboe reed making. 70 mandrel, the resulting larger sized mandrel will fit most English horn staples.

Experienced reed makers understand the quality-control advantages of shaping their own cane. However, by ordering gouged-shaped-folded cane, a novice English horn reed maker can delay the purchase of these specialized tools.

The option to use wire on English horn reeds varies from player to player. Some reed makers believe the use of a wire on English horn reeds is necessary to offer support beyond the tip of the staple and to maintain a good tip opening. Other reed makers believe that the wire reduces the natural vibrations of the reed and therefore dampens the sound or projection. Some English horn players use the wire to intentionally dull excessive vibrations in the reed. It is the author’s opinion that the diameter of tube cane, the personal reed scraping style, the ambient climate and elevation, and additional factors may collectively contribute to one’s decision to use wire or not. The author suggests that novice English hornists experiment by making reeds with and without wire.70 When comparing these experimental reeds, the following should be considered: projection, dynamic control, and pitch stability.71 My personal preference is to use a fine wire (28 gauge) so that the wire is malleable and minimally disruptive to the vibrations of the reed.

The standard wire gauge system used in the United States is a non-metric gauging system

70 The author suggests keeping a supply of 28 gauge wire on hand. To use the wire, you will need a pair of pliers and wire cutters.

71 For a detailed argument over the usage of wire on English horn reeds, the author suggests reviewing the following reliable online sources: Carolyn Hove http://carolynhovemusic.com/commentsList.php and Martin Schuring http://www.public.asu.edu/~schuring/Oboe/EH101.html. 71 in which a large-numbered gauge (30) is smaller in diameter than a lesser-numbered gauge (10).

Since the metal-to-metal connection of the reed’s staple to the bocal has the potential to yield air leaks, the use of plastic tubing can help to ensure a tight seal between the bottom end of the metal staple and tip of the bocal. The risk of not using plastic tubing may result in putting oneself in a problematic situation. For instance, while moistening the reed with saliva (with the reed still attached to the bocal) just before an important passage, the reed may release itself from the bocal and one may not have the time to remedy the problem. A length of plastic tubing approximately ¼ inch long will ensure a tight seal and will not disrupt the reed’s vibrations to any significant degree.

When making English horn reeds for the first time, it is best to experiment with different materials, measurements, and sources of cane. Be sure to keep track of those variables that yield the best results for your preferred style of playing, ambient climate, and et cetera. It is beneficial to consider the relative success of one’s oboe reeds before purchasing materials to make English horn reeds. One’s preference for the variables involved in oboe reed making – the relative hardness of cane, the thickness of gouge, the composition and tip opening size of staples, and the relative proportions of the tip, heart, and back of the reed – are equally important in English horn reed making. 72

The process of crowing reeds to determine their relative strength and stability is just as important to English horn reeds as it is to oboe reeds. 72 My personal preference is to scrape the English horn reed in order to crow two octaves of the same pitch class c (see

Musical Example 3-1, below).73 This allows the reed, embouchure, and bocal to work optimally.

Musical Example 3-1. Desired Crowing Tones of an English Horn Reed.

The practice of significantly pulling out the bocal from the English horn reed well in order to tune down a sharp-pitched performance setup can cause distortion in the

English horn’s overall scale. Therefore, it should be avoided. Illustration 3-2, below, demonstrates the connection point of the English horn bocal (at the bottom of the reed well) and the top of the English horn bore. With the English horn’s bocal withdrawn from the reed well as much as 3 millimeters, written pitches such as c2 and g#2 can severely sink in pitch, thus creating a need for significant embouchure adjustments. Finding one’s ideal instrument/bocal combination is already a relatively difficult feat. Therefore, it is important to find a bocal that plays in tune when it is positioned at or near the bottom of

72 Crowing refers to the process of producing a sound on a finished or nearly finished double-reed by method of placing one’s embouchure onto the thread of the reed (blowing piano to forte); therefore, intentionally allowing the reed’s blades to vibrate independently from the players’ embouchure.

73 Some English horn players prefer that their finished reeds crow the tones c-sharp2 and c-sharp3 simultaneously at full blowing pressure. 73 the reed well. In the authors’ opinion, adjusting the bocal in the reed well should be reserved only for occasional minor pitch level corrections.

English

B ottom of ocal

H

Body of English Horn orn B Horn B

Reed Well ocal ottom of ottom B 3 mm Extreme Length English

Between End of Bocal and Instrument Bore

Bore of English Horn

Illustration 3-2. Point of Contact Between Bocal and English Horn Bore (Not Drawn to Scale).

The author offers personal suggestions regarding English horn reed measurements, materials, and procedures in Table 3-1 and Illustration 3-3, below.

Making English horn reeds in three stages allows the cane to completely dry and rest and, in the author’s opinion, results in a high percentage of successfully finished reeds.

74

Table 3-1. Stages of English Horn Reed Making (with Prepared Cane).

Stage 1 supplies: Giacobassi Shaper Tip; Mark Chudnow, CA EH Staples – Silverplated.

Tie reed at 56 millimeters. Scrape off shiny bark; define the tip, heart, back and

eliminate ears. See Illustration 3-9 for specific measurements.

Stage 2 Continue to scrape and define sections of the reed. Clip the tip of the reed; be sure

to scrape enough cane to crow the desired pitch.

Stage 3 Finish the reed according to desired pitch and characteristics of crow. Play-test the

reed and adjust accordingly all the while testing the crow. Using needle-nose

pliers, stretch a piece of clear plastic tubing to fit onto the bottom of the reed’s

staple (to assist in a secure fit onto the bocal). Wrap the reed twice with 28 gauge

wire and tighten the wire with pliers until the initial tip opening is supported. Clip

the wire with about 3 mm leftover and tuck it down and back towards the cane so

that the potentially-sharp end does not extend outward. My personal preference is

to create an “optional-wire” approach to finishing an English horn reed. In order to

follow this suggestion, lower the wire (so that it hangs loosely near the thread)

during the early stages of reed-finishing and allow the reed to dry and rest. During

the next finishing session one may decide if the wire is necessary, and if so, raise

the wire to its original position.

75 finish reed at 55.5 mm 50.5 - 51 mm

44 mm wire approximately 5 mm thread .50 mm below staple above thread [approximately 26.5 mm [approximately 32 mm overall] overall]

Illustration 3-3. English Horn Reed: Suggested Measurements (Not Drawn to Scale).

76

The English Horn Staple and Bocal

English horn staples are similar to oboe staples in that they are conical, reusable if properly cared for, and serve the purpose of connecting the reed cane to the instrument.

English horn staples vary from oboe staples in that they do not fit directly into the body of the English horn but rather fit onto the top of the bocal that, in turn, fits into the

English horn. The standard length of an English horn staple is 27 millimeters. These staples are available in a variety of alloys including: bronze, nickel, silver plated alloy, gold plated alloy, brass, German silver.

Since the bocal is the crucial link between the reed and instrument that influences, to a great extent, a performer’s pitch, response, tone quality, and projection, the selection of a good English horn bocal is an important initial consideration.74 Typically instrument manufacturers include two or more bocals of various lengths with a new English horn. If one’s first performance experience with an English horn is with a borrowed or school- owned instrument, a thorough test of the bocal(s) should follow the procurement of a good, reliable reed. Listen carefully to the consistency of pitches in the overall scale, the quality of tone, and the ease of response of the various octave fingerings. Finally, perform the critical test: executing a diminuendo from fortissimo to pianissimo while sustaining c2. For an in-depth discussion on choosing an English horn bocal, the author recommends studying the website of the Los Angeles Philharmonic’s English hornist,

74 Carolyn Hove, “A Few Words About Bocals,” Carolyn Hove: English Horn, http://carolynhovemusic.com/commentsDetail.php?A-Few-Words-About-Bocals-5 (accessed March 24, 2011). 77

Carolyn Hove, who offers detailed instructions and commentary on choosing an appropriate bocal.75

One of the major difficulties in finding a good English horn bocal is that of sorting through the numerous brands, lengths, bore sizes, metal compositions, and contours of bocals. The author advises to familiarize yourself with the available options by visiting double reed specialty shops or their websites, visiting an International Double

Reed Society (IDRS) conference, or calling the bocal maker or manufacturer directly.

The overall length of the bocal is most commonly recorded by numbers 1, 2, or 3 (a lower number refers to a shorter length) that can be found engraved just above the cork on most bocals. In addition, some manufacturers include an indication of bore in the engravings. For instance, Thomas Hiniker designates the bore size number of his bocals with a “B” in front of that number to distinguish it from the other references. English horn bocals are available in several different metal alloys such as: sterling silver, silver plated allow, gold plated brass, and silver plated nickel silver. Lastly, the overall design or curvature of the bocal varies from manufacturer to manufacturer.

Photograph 3-5, below, is a display of eleven English horn bocals made by six different manufacturers. In this selection of bocals all are sterling silver or silver-plated alloy and are designated length “2” (except for the Lorée bocal identified as L-2). In this photograph, the variation in curvature is easily observed, most notably in the Ross design.

75 Hove, “A Few Words About Bocals,” (accessed March 24, 2011). 78

The amount of curvature of a bocal will affect the angle in which the reed enters the embouchure and may change the holding angle of the instrument.

D-1, D-2 F-1 H-1, H-2 L-1, L-2 R-1, R-2 S-1, S-2

Photograph 3-5. Left to Right, Bocal Manufacturers: Dallas (D), Fox (F), Hiniker (H), Lorée (L), Ross (R), Selmer (S).

79

Air Support

The length and bore size of the English horn is longer and larger than the oboe.

Therefore, the increased volume of air required to produce an acceptable English horn tone is immediately noticeable to the novice player. Conversely, the amount of blowing resistance is relatively less with the English horn than with the oboe. Oboists switching to the English horn often observe a lesser degree of suffocation than they experience while playing the oboe, due to the greater flow of air through the English horn’s larger reed and bore.76 Because of this, the English hornist may experience a somewhat reduced need to exhale the stale air, compared to the relatively more prominent exhale-inhale technique of oboe performance. One may think that these statements imply that it is easier to breathe and perform on the English horn when it is just as difficult, or more so, to successfully sustain an extended phrase as an oboist would easily execute.

Many orchestral English horn solos are long in duration and therefore demand exceptional air support. In developing the air support system necessary for such extended passages, the author recommends that the novice English hornist practice long tone exercises such as Musical Example 3-2 (below) excerpted from Long Tone Warm-Up for

Oboe and English Horn by oboist and pedagogue, Neil Tatman. For specialized English horn air support development, one should perform this long-tone exercise as written, as well as without the indicated breaths in measures 5, 15, and 25.

76 Oftentimes novice oboists inhale repetitiously without effectively exhaling the stale (increasingly carbon dioxide-rich) air mixture in their lungs. As the brain begins to sense the onset of suffocation, it signals the body to inhale some fresh air (oxygen), but, because the lungs are practically full (of stale air), the body’s repeated attempts to inhale fresh air are practically futile. 80

Musical Example 3-2. Excerpt from Long Tone Warm-Up for Oboe and English Horn by Neil Tatman.

81

Pitch and Range

The oboe is pitched in the key of C, while the English horn is pitched in the key of F (sounding a perfect fifth lower than written pitch). When an oboist plays a written c2, the oboe will sound c2. When an English hornist plays a written c2, the English horn will sound an f1 (see Musical Example 3-3).

Musical Example 3-3. Comparing the Oboe and English Horn: Pitch and Range.

The ability to quickly transpose from the English horn’s written pitch to sounding pitch is a good skill for a novice English hornist to develop, particularly if that instrumentalist does not yet own an instrument and is occasionally asked to play an

English horn part on the oboe. In order to transpose an English horn solo (to be played on the oboe during a rehearsal) the oboist plays a perfect fifth lower than the English horn’s written pitch. If the resulting transposition goes lower than the oboe’s range, the transposition interval will need to temporarily be played a perfect fourth higher than the

English horn’s written pitch. The range of the English horn differs somewhat from the oboe (see Musical Example 3-3, above). While the written pitch for the oboe extends 82 only a minor second lower than that of the standard English horn, the sounding pitch of the English horn extends a tri-tone below that of the oboe.77

The bottom portion (written d1 and lower) of the fundamental octave differs significantly between the oboe and English horn. While the oboe tends to be resistant and pianissimo tones are relatively difficult to perform reliably, the identical written tones for the English horn are significantly less resistant, more responsive, and are overall reliable.

Indeed, the warmth of the low register is perhaps the most attractive, unique feature of this instrument – one that has been noticed by every composer of quality English horn literature. In comparing the highest range of the oboe and English horn (written c3 and above), the oboe easily projects at a forte dynamic within relatively thick symphonic textures, whereas the English horn’s projection in this written range is much less.

Consequently, novice English hornists must be cautioned against over-blowing, which can cause unfocused and undesirable tonal qualities when attempting to play third-octave tones at the fortissimo dynamic range.

77 Some instrument manufacturers offer a factory-made, b-flat extension with the purchase of a new English horn. Retail double reed suppliers often stock generic b-flat extensions that will fit most English horns. 83

Specialized Fingerings

The English horn and the oboe are members of the same family and thus, share the same generic fingering system. However, because the English horn is not identical to the oboe, the novice English hornist should expect to learn a relatively small set of specialized fingerings that can successfully be used to enhance the English horn’s tuning and response idiosyncrasies. A Standard and Specialized Fingering Chart is located in the

Introduction of this document. Discussion regarding specific moments in literature where these fingerings may be used will be thoroughly discussed in chapter 4.

84

CHAPTER 4. PEDAGOGICAL APPROACHES FOR THE NOVICE ENGLISH HORN PLAYER

Having discussed the key differences between the oboe and English horn, it is now appropriate to begin an examination of specialized English horn fingerings and pedagogical approaches for the novice English hornist. My examination will include portions of etudes from two widely acclaimed oboe method books: A Complete Method for the Oboe by A.M.R. Barret and Albert J. Andraud’s revision of 48 Famous Studies for Oboe or Saxophone by W. Ferling.78 Additionally, selected English horn solos from the standard symphonic repertoire will be discussed.

78 A. M. R. Barret, A Complete Method for the Oboe, 2d ed. ([London]: Boosey and Hawkes, [1862]), 57; W. Ferling, 48 Famous Studies for Oboe or Saxophone, ed. Albert J. Andraud (San Antonio: Southern Music Company, 1958), 1; Burgess and Haynes, The Oboe, 148. 85

Developing the English Horn Through the Study of Standard Oboe Etudes

A Complete Method for the Oboe by A.M.R. Barret (1804-1879) is a significant, comprehensive method book for the oboe. The section titled “Forty Progressive

Melodies” will be examined in this discussion.79 Progressive Melody No. 5 will address specialized issues relevant to the development of English horn technique in the written key of B-flat major. I will discuss the use of the following specialized fingerings which have been highlighted in Musical Example 4-1: f2, b-flat2, c2, and d3.

Musical Example 4-1. Barret, No. 5 from Forty Progressive Melodies.

Measure 1 outlines a B-flat major triad. Many oboists are likely to have been instructed to use the left-hand F fingering rather than forked F in order to improve

79 All of the etudes by Barret are numbered in the following format: ‘No. 1’. The Barret etudes will be referred to as such in this document.

86 intonation and clarity of tone on f2. However, in contrast to the oboe, the forked f2 fingering on the English horn is an excellent tone in either octave. Therefore, it is advised to practice this etude using the octave forked F fingering, where highlighted, to improve and maintain dexterity of the right-hand while playing the English horn. Measures 2 and

4 contain octave intervals from b-flat1 to b-flat2 that appropriately call for the application of the specialized fingering for b-flat2 (see Table 4-1, below) for the English horn. By adding finger number three of the right-hand to the standard b-flat2 fingering, intonation and projection will improve. This will create greater stability and an improved approach for successful execution of the accent that Barret placed over b-flat2.

Table 4-1. Specialized Fingerings for Barret, No. 5.80

f2 b-flat2 c2, alternate 1 d3

The standard oboe fingering for c2 is, at times, troublesome on the English horn.

The tenancies for c2 include flatness in pitch, sagging or drooping in pitch while executing a diminuendo to pianissimo, or an overly flexible tone on hard accents. In

80 See the Introduction of this document for a complete standard and specialized fingering chart. 87 measure 4, the accent written upon c2, if performed too aggressively, may yield an unstable pitch definition and tonal focus if one’s set-up (instrument, bocal, and reed) is unstable. In order to stabilize the pitch and focus of an unsteady c2 (besides adjusting one’s set-up), one can add fingers two and three of the right-hand to the standard fingering (see Table 4-1, above). Lastly, in measure 18, the tone d3 – a tone that is prone to response failure in both tongued and slurred approaches – can benefit from the following fingering modification: by lifting the half-hole finger (left-hand, finger one) one can improve the responsiveness of d3 (see Table 4-1, above).

The benefits of practicing the forked F on the English horn in Progressive Melody

No. 5 by Barret may successfully be applied to the English horn excerpt from Three

Cornered Hat (1917) by Manuel de Falla (1876-1946).81 As the speed and number of notes in the musical flourish increases (see Musical Example 4-2, below), using a forked

F fingering will facilitate the performance of a well-connected, rhapsodic line.

Musical Example 4-2. de Falla: Three Cornered Hat.

81 The notes pertaining to our discussion have been highlighted for quick and easy identification. 88

The specialized fingering for c2 practiced in Progressive Melody No. 5 by Barret may also be applied to an exposed English horn excerpt from Romeo and Juliet Fantasy

Overture (revised 1880) by Peter Tchaikovsky (1840-1893). This excerpt (Musical

Example 4-3, below) is deceivingly challenging; upon first glance it appears to be relatively short and not technically difficult. However, in context of the performance, the challenge lies in creating smooth interval connections while observing the composer’s dynamic indications. The author advises one to consider playing measures 1-7 of the excerpt within a mezzo forte dynamic and measure 8-19 based on a piano dynamic.

Opportunities to apply the specialized fingering for the tone c2 can be found in other

English horn solo passages such as Capriccio Esapagnol (1887) by Nikolai Rimsky-

Korsakov (1844-1908) and “Nuages” from Three Nocturnes (1899) by Claude Debussy

(1862-1918).

Musical Example 4-3. Tchaikovsky, Romeo and Juliet Fantasy Overture.

89

The specialized fingering for c2 can be further altered. One method of alleviating glitches between the first two tones of the English horn solo in Symphony No. 9 (1893) by

Antonin Dvořák (1841-1904) is to combine the standard e-flat2 fingering and the aforementioned c2 specialized fingering (see Musical Example 4-4 and Table 4-2, below). By adding a full right hand to the standard c2 fingering, there remain only two left-hand fingers to be applied to complete the interval, thus facilitating a smooth interval execution. It is advisable to be consistent with the choice of c2 fingerings since the addition of the right-hand can altar pitch and tone.

Musical Example 4-4. Dvořák, Symphony No. 9, mvt II.

90

Table 4-2. Specialized Fingerings for Musical Example 4-5.

c2, alternate 2 b-flat2

It is advisable to use the specialized fingering shown in Table 4-2 for b-flat2 during measures 11-12 of the English horn solo. This fingering will aid in projection and pitch stability. Although the English horn is doubled by the bassoon in measures 11-12 at the 8ba, the English horn’s tone color should be prominent.

91

The W. Ferling etude books (1958), revised by oboist and English hornist Albert

J. Andraud (1884-1975), formerly English horn soloist of the Cincinnati Symphony

Orchestra, are divided into two volumes. The first volume consists of 48 Famous Studies, the first oboe part to Trois Duos Concertants pour deux Hautbois (Three Duo

Concertinos for Two Oboes), and the first oboe part to Ludwig van Beethoven’s Trio for

Two Oboes and English horn, Op. 87. The most important sections of the second Ferling book contain the second oboe part to the Three Duo Concertinos for Two Oboes and the second oboe and English horn part to the aforementioned Trio, Op. 87 by Beethoven. For purposes of this document, my discussion will refer to the 48 studies in the opening section of book one.

The studies in the Ferling book are organized by musical key and tempo; one etude per key (encompassing 12 major and minor keys) with alternating slow and fast tempo indications. For example, numbers 1-2 are both in C major but study Number 1 is marked Adagio con espressione and Number 2 is designated Moderato risoluto.82 Study

Numbers 3-4 are in a minor with Number 3 marked as Andantino and Number 4 as

Allegro moderato.

82 Ferling’s 48 Famous Studies are defined and labeled with the following numbering format: ‘1, 2, 3,’ et cetera. The Ferling studies will be referred to as “number 1” in this document. 92

Ferling study number 16 is written in the key of b minor. This etude is ideally suited for English horn study due to the written range: b through e3. In addition to the relatively wide range of this etude, the b minor arpeggio is consistently outlined with an articulation pattern that slurs to the tone d3 (see Musical Example 4-7, below). As discussed in relation to Musical Example 4-1 (above), executing the ascending slur across the octave break to d3 can be problematic.83

The natural tendency for slurred intervals across a break is an interruption of the desired connection of tone. Assuming that the student has a good set-up, the undesirable disruption of sound usually results from uncoordinated fingers, lack of air support, and/or poor embouchure adjustments. Ferling number 16 affords the student several opportunities to practice the response of d3 using three different approaches: over-the- break and slurred, legato articulation, and staccato articulation (see Musical Example 4-5, below).

83 The English horn’s fundamental octave includes the tones b – c2. Ascending across the first break (from c2 to c-sharp2) into the second octave yields tones (c-sharp2 – c3) that generally duplicate the fingerings (with slight modifications) of the fundamental octave. These tones are second-harmonics of the fundamental octave’s tones. Ascending across an additional break into the English horn’s third octave (beginning on c-sharp3 and ascending nearly the full octave) yields tones that are modified third-, fourth-, and fifth-harmonics of the fundamental octave’s tones. Breaks are potential sources of response problems for oboe and English horn players (as well as all woodwind instrument players) primarily because of the immediate changes in tube length from short to long (or vice versa) and corresponding differences in the blowing resistance of the resulting short-, medium-, and long-tube tones. 93

Musical Example 4-5. Ferling, Number 16 from 48 Famous Studies.

94

Musical Example 4-5. Ferling, Number 16 from 48 Famous Studies, continued.

When playing e3, as written in measures 14 and 17 of the study, one should always use the third octave key (if one’s English horn key work includes this option). The third octave key aids in response, projection, and clarity of tone. Depending upon one’s set-up, it may be necessary to use an alternate specialized e3 fingering. Table 4-3 (below) illustrates two e3 fingering choices. In addition, short fingering options – omitting fingers two and three of the right-hand – may be used for either specialized e3 fingering suggestion. Lastly, Ferling number 16 also affords the practice of a specialized fingering for the tone b2. Found throughout the study within b minor and G major arpeggios, b2 should be practiced with the fingering shown in Table 4-3 (below) which will improve projection as well as intonation.

95

Table 4-3. Specialized Fingerings for Ferling, Number 16.

d3 e3, alternate 1 e3, alternate 2 b2

When the specialized fingerings discussed in Ferling study number 16 have been mastered, they can be successfully applied to several orchestral excerpts. The specialized fingerings for b2 and d3 are recommended for use in specific passages from

Tchaikovsky’s Nutcracker Ballet (1892), Act I, Scene VI. As observed in measures 9 and

11 of the excerpt below (Musical Example, 4-6), the performer must approach b2 from a major sixth below, and in measure 15, the ascending slur across the octave break to d3 occurs twice. Sufficient practice of Ferling number 16 with the aforementioned specialized English horn fingerings will help the performer successfully execute the difficulty of this passage during performance.

96

Musical Example 4-6. Tchaikovsky, Nutcracker Ballet, Act I, Scene VI.

Additional orchestral excerpts that may benefit from the specialized fingerings discussed in Ferling Study number 16 include the Rob Roy Overture (1831) by Hector

Berlioz (1803-1869) and the Guillaume Tell Overture (1829) by Gioachini Rossini

(1792-1868). The expansive and predominantly high-note English horn excerpt from Rob

Roy Overture extensively features b2, d3, and e3 throughout the solo. Rossini includes two ascending, over-the-break slurred approaches to d3 in the opening of the Guillaume

Tell solo which will be discussed below.

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Two very important English horn excerpts from orchestral literature written during the first half of the 19th century are the Guillaume Tell Overture (William Tell

Overture) composed by Rossini in 1844 and Le Carnaval Romain, Ouverture pour

Orchestre (Roman Carnival Overture) written by Berlioz in 1829. These excerpts share certain stylistic aspects of Progressive Melody No. 18 by Barret (see Musical Example 4-

7, below) such as: the use of triple meter, ascending slurred intervals into the third octave, musical motives reminiscent of the Rossini and Berlioz excerpts, and specialized English horn fingerings.84

84 The discussion of Barret’s No. 18 Melodic Study involves rhythmic and written note discussion; therefore, the rhythmic figures have been identified with an open-highlighted box rather than a filled-in highlighted box. 98

Musical Example 4-7. Barret, No. 18 from Forty Progressive Melodies.

99

Musical Example 4-7. Barret, No. 18 from Forty Progressive Melodies, continued.

The challenge of executing a successful ascending slur across the octave break to d3 presents itself in measures 9 and 39 of Barret’s No. 18 etude (Musical Example 4-7, above) and the use of a specialized fingering for d3 is recommended as discussed in previous etudes. Table 4-4, below, illustrates the specialized fingerings suggested for etude No. 18 by Barret.

Table 4-4. Specialized Fingerings for Barret, No. 18.

d3 b2

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In measures 22 and 24 of No. 18 etude by Barret, two challenging over-the-break slurred intervals occur: a2 to d2 and d2 to f-sharp1 (see Musical Example 4-7, above). In addition to the etude, it may be helpful to practice the following series of slurred intervals

(Musical Example, 4-8), striving for constant tone between pitches:

Musical Example 4-8. Additional Exercise to Accompany Barret, No. 18.

This exercise of slurred intervals should aid the descending slurred interval from d2 to f- sharp1 found in measure 23 of Roman Carnival Overture (see Musical Example 4-9, below) by Berlioz. The musical ascent to b3 in measure 35 of Roman Carnival Overture can benefit from the specialized fingering discussed and shown in Table 4-4 (above).

Since the dynamic indications in Barret’s No. 18 (measure 48) and Berlioz’s Roman

Carnival Overture (measure 35) differ from one another, I suggest that the student edit the Barret to reflect the dynamics of the crescendo as indicated by Berlioz.

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Musical Example 4-9. Berlioz, Roman Carnival Overture, mm. 27-43. 27

The Roman Carnival Overture English horn solo illustrated in Musical Example

4-9 (above) is 16 measures in length, however, 8 measures later, an additional solo and soli continues for 22 measures The entire English horn part of the Roman Carnival

Overture, found within the second oboe part, should be carefully reviewed by the novice

English horn player.

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The rhythmic and metric aspects of both Barret’s Progressive Melody No. 18 and

Rossini’s William Tell Overture (Musical Example 4-10, below) are, to a certain extent, shared. These aspects include compound triple time signatures, repeating rhythmic motives, and ties from relatively long sustained tones into the primary subdivisions of subsequent beats. Musical Figure 4-10 (below) illustrates these aspects. In performance,

Musical Example 4-10. Left, Measure 2 from Etude No. 18 by Barret in Compound Triple Meter; Right, Measure 1 from William Tell Overture English Horn Solo by Rossini in Simple Triple Meter.

the accurate continuation of the flow of rhythmic subdivisions following a tie into an empty beat is a challenge to many musicians.85 In order to remedy this situation, I recommend that students practice the Barret etude followed by the English horn solo from William Tell Overture by Rossini (see Musical Example 4-11, below), using a metronome set-up to click the subdivided pulse.

85 In this situation, an empty beat refers to the sustained tone and subsequent beat that is not rearticulated, creating an agogic accent (a note that is stressed because of its longer duration than the surrounding notes) on the articulated and sustained tone. 103

Musical Example 4-11. Rossini, William Tell Overture.

The English horn solos of the William Tell and Roman Carnival Overtures are exposed, extensive, and contain numerous wide interval leaps. In William Tell, the initial

English horn solo is developed contrapuntally with an elaborate, intricate flute line that also includes several empty beats (see Musical Example 4-12, below). I advise the novice

English hornist to amply prepare for the endurance aspects as well as the rhythmic and 104 contrapuntal challenges of this overture. I highly recommend that this passage be thoroughly rehearsed with the principal flutist prior to the orchestra’s first rehearsal.

Musical Example 4-12. English Horn and Flute Parts for William Tell Overture by Rossini, mm. 176-203.

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It is not by chance that Rossini inserted the famous English horn solo from the

William Tell Overture into the principal oboe part, for the work received its premiere at the Paris Opéra in 1829 where Gustav Vogt (1781-1870) was principal oboist and

English horn soloist, as well as Professor of Oboe at the Conservatoire.86 It is known that

Rossini intentionally wrote the English horn solo for Vogt.87 Today, a symphony orchestra’s second oboist commonly performs this English horn solo or, if the orchestra has a contracted solo English horn/oboe III player, that individual is expected to perform the solo.

86 Geoffrey Burgess, The Premier Oboist of Europe: a Portrait of Gustave Vogt (Maryland: Scarecrow Press, Inc., 2003), 1-5. Vogt was principal oboist and solo English hornist at the Paris Opéra from 1812-1834.

87 Burgess and Haynes, The Oboe, 133. 106

CONCLUSION

English hornists who have successfully mastered the novice-level suggestions discussed in this document may continue with more difficult studies such as Ferling etude numbers 31 and 38, from 48 Famous Studies. These etudes, in c-sharp minor and B major respectively, challenge the progressing English hornist in several respects: increasingly awkward key signatures, expanded written ranges, wide interval leaps, tones requiring specialized fingerings, intervals requiring acute intonation awareness and adjustment capability, and wide dynamic ranges. In addition to the Ferling etudes, an excellent publication to acquire is 20 Studies by oboist Henri Brod (1799-1839) and edited by

Thomas Stacy (b. 1938), former solo English hornist of the New York Philharmonic.88

Finally, I recommend that English horn students attend seminars, master classes, and seek private instruction with English horn specialists.

88 Stacy, 20 Studies, 2; Henri Brod, already a member of the Paris Opéra, succeeded Vogt as principal oboist in 1834 until his early death in 1839. 107

APPENDIX A. STANDARD AND SPECIALIZED FINGERINGS FOR THE ENGLISH HORN

The following illustration and table of standard and specialized English horn fingerings are designed to improve intonation or relieve technical difficulties encountered during performance or practice (see Illustration A-1 and Table A-1, below).

third octave side octave

first octave D trill

C# trill

Ab G#-A trill low B right Ab left F left Eb D trill

regular F

low C low C#

Eb

Illustration A-1. English Horn Key Identification for the Standard and Specialized English Horn Fingering Chart.

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Table A-1. Standard and Specialized Fingerings for the English Horn.

b c1 c#1 db1 d1

d#1 eb1 e1 f1

109

Table A-1. Standard and Specialized Fingerings for the English Horn, continued.

f#1 gb1 g1 g#1 ab1 a1

a#1 bb1 b1 c2

110

Table A-1. Standard and Specialized Fingerings for the English Horn, continued.

c#2 db2 d2 d#2 eb2 e2

f2 f#2 fb2 g2

111

Table A-1. Standard and Specialized Fingerings for the English Horn, continued.

g#2 ab2 a2 a#2 bb2 b2

c3 c#3 db3 d3 d#3 eb3

112

Table A-1. Standard and Specialized Fingerings for the English Horn, continued.

e3 f3 f#3 gb3

g3

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APPENDIX B. SELECTED DISCOGRAPHY FROM ENGLISH HORN SOLOISTS: ALPHABETICAL LISTING

English hornist: Julie Ann Giacobassi

Most Recent Selected Discography Works Orchestral (Composer: Composition) Affiliation

San Francisco Aaron Jay Kernis: Colored Field; Still Kernis: Colored Field: (Concerto for Symphony Movement with Hymn; Julie Ann English horn and Orchestra) (1981-2006) Giacobassi; San Francisco Symphony (Argo, 1996, 448174-2)

Orchestral Excerpts for English Horn Dvorák: Symphony No. 9; Bach: with Spoken Commentary Cantata No. 1, St. Matthews Passion (Summit Records, 2001, DCD307) numbers 60 and 65; Berlioz: Rob Roy Overture, Roman Carnival Overture, Symphonie Fantastique; Debussy: La Mer, Nocturnes; De Falla: Three Cornered Hat; Ravel: Concerto in G, Ma Mère l’Oye, Rhapsodie Espagnol; Resphigi: Pines of Rome; Rodrigo: Concerto de Aranjuez; Rossini: William Tell Overture; Shostakovich: Symphony No. 4; Strauss: Don Quixote, Ein Heldenleben; Stravinsky: Le Sacre du Printemps; Verdi: Un Ballo in Maschera; Wagner: Tristan und Isolde

Julie Ann Giacobassi: English Horn & Ewazen: Quintet for English Horn and Oboe d’Amore Strings; Thow: Musica d’amore; (Fish Creek Music, 2004, Marvin: Music from the Night; FCMCD102) Felciano: Dark Landscape; Marvin: Five Pieces for English Horn and Piano

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Julie Ann Giacobassi maintains Fish Creek Music, a publishing house that promotes new music and recordings written primarily for English horn and oboe d’amore.89 Giacobassi is active in the San Francisco Bay Area and has given many world premiers on English horn and oboe d’amore. Commercial replications of the Giacobassi

English horn shaper tip are available through Westwind Double Reed.90 Giacobassi’s recordings reflect her career as an orchestral soloist and promoter of new compositions.

89 Julie Ann Giacobassi, “Fish Creek Music,” Julie Ann Giacobassi, http://www.fishcreekmusic.com/index.htm (accessed April 22, 2011).

90 Westwind Double Reed, “Westwind Double Reed: English Horn Shaper Tips,” Westwind Double Reed, http://www.westwinddoublereed.com/Shaper-tips-English-Horn-c15/ (accessed April 22, 2011). 115

English hornist: Marc Gordon

Most Recent Selected Discography Works Orchestral (Composer: Composition) Affiliation

St. Louis Chamber Music for M. Haydn: Quartet in C Major (Perger 115); Symphony English horn and Strings Mozart: Adagio, K580a; Francaix: Qùatuor (1972-2005) (AAM Recordings, 2004, MG6865)

Following his years of service with the St. Louis Symphony, Marc Gordon has served as interim English hornist with the Chicago and San Diego Symphony Orchestras.

Gordon’s recording includes standard and arranged works for English horn and strings.

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English hornist: Carolyn Hove

Most Recent Selected Discography Works Orchestral (Composer: Composition) Affiliation

Los Angeles Carolyn Hove: English Hindemith: Sonate für English Horn und Philharmonic horn & Oboe Klavier ; Salonen: Second Meeting; Marvin: (1988-present) (Crystal Records, 1996, Five Pieces for English Horn and Piano; CD328) Persichetti: Parable for Solo English Horn;

Carter: Pastoral; Stevens: Triangles IV

“Ascending to Castelnuovo-Tedesco: Oclogues, op. 206; Superlatives”: Carolyn Kraft: Encounters XI: The Demise of Hove; English horn Suriyodhaya; Turok: Improvisations, op. 67 (Crystal Records, 2000, #1; Samuel: Lyric Scene; Hovhaness: Suite, CD329) op. 21

Carolyn Hove is the solo English hornist with the Los Angeles Philharmonic and oboe instructor at California State University, Long Beach. Additionally, she holds an annual five-day English horn master class event during the summer in various locations around the continental United States.91 There, English hornists participate in daily master classes in orchestral and solo literature, make English horn reeds, and perform in a recital at the closing of the five-day event. In addition, Mark Chudnow coaches an instrument adjustment session and is available for minor on-site repairs.92 Hove also maintains an

91 Carolyn Hove, “Carolyn Hove: English Horn; Activities,” Carolyn Hove, http://carolynhovemusic.com/activitiesList.php (accessed April 28, 2011).

92 Mark Chudnow, owner of Mark Chudnow Woodwinds, is a professional oboe and English horn repairman and dealer located in Napa, California; Mark Chudnow, “Mark Chudnow Woodwinds,” Mark Chudnow, http://p10.hostingprod.com/@mcwoboe.com/ (accessed May 3, 2011). 117 informative website for avid English horn players complete with personal preferences regarding reed making and bocal selection.93 Hove’s recordings are strictly 20th Century works (standard and lesser known) and reflect her desire to establish the English horn as a solo instrument.

93 Carolyn Hove, “Carolyn Hove: English Horn,” Carolyn Hove, http://carolynhovemusic.com/ (accessed April 22, 2011). 118

English hornist: Patrick McFarland

Most Recent Selected Discography Works Orchestral (Composer: Composition) Affiliation

Atlanta Symphony Diversions for English horn Francaix: Quartet for English horn and Orchestra (Arundax Recordings, 1991, Strings; Koetsier, Ballade for English horn (1964-2010) 80140) and Piano; Bozza: Shepherds of Provence for Oboe and English horn; Powning: Divertimento for Oboe, English horn and Bassoon; Lalliet: Fantasie Originale

Gems for English horn Rachmaninov ( Wildermuth): Vocalise, Op. (Arundax Recordings, 1995, 34, No 14; Tchaikovsky (Rosenblatt): 21339) Selections from The Seasons, Op. 37b; Mozart (Rosenblatt): Adagio in C Major, K. 580a; Ravel: Piéce en forme de habanera; Ferlendis/Kraus: Concerto in C Major for English Horn and Orchestra

Music for Double Reeds Beethove: Theme and Variations on the (Arundax Recordings, 2000, Mozart Aria, “La Cirem da Mano” for 2 2673 Oboes and English horn; Koetsier: 10 Variations and Fugue on a theme of Bach for 2 Oboes and English horn; Graun: Trio in E Major for Oboe d’Amore, English horn and Bassoon; Dubois: Sonatine Pour Cor Anglais at Piano; Badings: Trio IV for 2 Oboes and English horn

Patrick McFarland and Fiocco: Arioso for English horn and Harp; Friends Mahler: Ich bid der Welt abhanden (Boston Records, [2010], gekommen from the Rückert Lieder; Pasculli: BR1075CD) Homage to Bellini for English horn and Harp; Castelnuovo-Tedesco: Eclogues; Jolivet: Pastorales de Noel for Flute, English horn and Harp; Running: Patchant for Flute, English horn and Harp, Prelude and Quodlibet for Oboe and English horn

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Patrick McFarland owns the McFarland Double Reed Shop based in Atlanta,

Georgia where he sells new, used, and consigned oboes, oboe d’amores and English horns. McFarland gives master classes which are advertised on his website, www.mcfarlanddoublereed.com.94 McFarland’s recordings include a variety of compositions and arrangements for the English horn in solo and chamber settings.

94 Patrick McFarland, ”The McFarland Double Reed Shop,” Patrick McFarland, http://www.mcfarlanddoublereed.com/index.htm (accessed April 28, 2011). 120

English hornist: Thomas Stacy

Most Recent Selected Discography Works Orchestral (Composer: Composition) Affiliation

New York Thomas Stacy: English horn; Rorem: Concerto for English horn and Philharmonic Three Concerti Orchestra, Persichetti: Concerto for English (1972-2010) (New World Records, 1995) Horn and String Orchestra, Op 137; Hodkinson: The Edge of the Olde One

Thomas Stacy: Principal Fuchs: Face of the Night; Berg: Why Else Do English horn; New York You Have an English Horn?; Ravel: Pavane for Philharmonic a Dead Princess for Oboe d’amore and Piano; (Cala Records, 1998, Downey: Soliloquy for Solo English Horn; CACD0511) Yvon: Sonata for English Horn and Piano; Read: Phantasmagoria for English Horn/Oboe/Oboe d’amore and Organ

Plaintive Melody: Thomas Myers: The Deer Hunter, Cavatina*; Borodin: Stacy; English horn Prince Igor, Polovtsian Dances*; Fiocco: (Delos, 2003, Arioso; Barlow: The Winters Passed; Villa- B0000AQRZM) Lobos: Bachianas Brasileiras No. 5, I. Aria*; Grossman and Traditional: Shall We Gather at the River; Rodrigo: Concierto de Aranjuez II. Adagio*; Pasculli: Hommage a Bellini; JS Bach: Flute Sonata in E-Flat Major BWV 1031, II. Siciliano*; Bozza: Lied*; Ravel: Vocalise-etude en Forme de Habanera*; Barber: Canzone, Op 38a*; Kreisler and Granados: 12 Danzas Espanolas (Spanish Dances), No. 5; Morricone: The Mission, Gabriel’s Oboe *arranged by Stacy

Kenneth Fuchs: An American Fuchs: An American Place, Eventide, Out of the Place; Eventide; Out of the Dark Dark; Thomas Stacy; London Symphony Orchestra (Naxos, 2005, B000A17GI8)

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Oboe d’amore Concertos by Telemann: Concerto in G major, TWV G3, J.S. Bach and Telemann Concerto in A major, TWV A2; JS Bach: (Naxos, 2008, 8.570735) Concerto in A major, BWV 1055, Concerto in D major, BWV 1053

Thomas Stacy recently retired from the New York Philharmonic as solo English horn. Stacy currently teaches at the Manhattan School of Music, the only music school in

America offering a specialized degree in English horn performance.95 Stacy is the most recorded English hornist and offers a wide variety of repertoire, including solos, chamber music, concerti, and arrangements of orchestral literature. In 2005, Stacy was nominated for a Grammy in the category, “Best Instrumental soloist with Orchestra” for his performance of Kenneth Fuchs’ Eventide. His Stacy Seminar has been a staple of Carmel

Valley, California’s summer musical activities at Hidden Valley Seminars, Inc., since the

1980s. 96 There, English hornists participate in daily master classes, study orchestral and solo literature, make English horn reeds, and perform in a recital at the closing of the week’s events. Mark Chudnow is available throughout the week for minor on-site repairs and commercially offers the Tom Stacy shaper tips for oboe, English horn, and oboe d’amore.97

95 Thomas Stacy, “Thomas Stacy.com: Home,” Thomas Stacy, http://www.thomasstacy.com/html/home.html (accessed April 28, 2011).

96 Hidden Valley Music Seminars, “Hidden Valley Music Seminars Presents Thomas Stacy English Horn Masterclass,” http://www.hiddenvalleymusic.org/stacy.php (accessed April 29, 2011).

97 Mark Chudnow, “Tom Stacy English Horn Shaper Tip,” Mark Chudnow, http://yhst- 49475438377643.stores.yahoo.net/sha0106.html (accessed May 3, 2011). 122

APPENDIX C. PERMISSION FOR INCLUSION OF MUSICAL EXAMPLES

Musical examples from Divertissement by Eugène Bozza and 48 Famous Studies for Oboe or Saxophone by W. Ferling, edited by Albert J. Andraud are reprinted with permission by Southern Music Company:

© Copyright 1939, by Southern Music Company. © Copyright 1958, by Southern Music Company.

From: Brian Trodden To: Cindy Behmer Subject: Re: permission to use copyrighted material Date: Mon, Aug 1, 2011 4:47 pm

Cindy, That will be fine with the same stipulations as set forth in our first agreement. May I also request your document be sent to us for our files when complete?

Brian Trodden Associate Director Publishing Division Southern Music Company

Sent from my iPhone

On Aug 1, 2011, at 3:01 PM, Cindy Behmer wrote:

Hi Brian, I am so sorry to persist in my communication (I have called twice and your very nice operator helped me) and I understand that you have been out of the office. I have a pending deadline (August 8th) for graduation and I would really like to have your permission before I submit the very final version of my document. The email below, sent on July 20th, outlines my second request to use copyrighted material. Thanks so much for your help and time, I am sorry that my request comes during this busy time for you. I hope your conference/exhibition went well, I myself have been to two conferences this summer and I totally understand the need for down-time following a big professional gathering. Thanks, Cindy Behmer 520-240-3709

123

-----Original Message----- From: Cindy Behmer To: [email protected] Sent: Wed, Jul 20, 2011 10:45 am Subject: Re: permission to use copyrighted material

Brian, Thank you very much for your response and permission regarding the use of Ferling etude number 16 in my dissertation. I would also like to request permission to use an excerpt from Divertissement by Eugene Bozza, only measures 145-154 of the English horn part, for inclusion in my dissertation. Divertissement (copyrighted 1958) is included in the Vade-Mecum of the Oboist published by Southern Music Company (copyright 1967). Sincerely, Cynthia Behmer

-----Original Message----- From: Brian Trodden To: [email protected] Sent: Mon, Jun 20, 2011 8:30 am Subject: Re: permission to use copyrighted material

Cynthia, We have no issue with the use of our etude in your dissertation, however, any reproductions and/or sold copies will require a percentage paid to us and a license drafted. For the time being, you may go ahead and use the etude, but we will need to be notified should ProQuest want to publish you dissertation. Feel free to contact me with any questions or comments you may have. Sincerely, Brian Trodden Associate Director Publishing Division Southern Music Co. 800-284-5443 www.southernmusic.com www.youtube.com/user/southernmusiccompany

124

From: Cindy Behmer [mailto:[email protected]] Sent: Thursday, June 09, 2011 1:46 PM To: [email protected] Subject: permission to use copyrighted material Dear Southern Music Company: I am completing a doctoral dissertation at the University of Arizona entitled "Pedagogical Insights to Successful English Horn Performance: a Guide for College-Level Oboists." I would like your permission to reprint in my dissertation excerpts from the following: 48 Famous Studies for Oboe or Saxophone by W. Ferling, revised by Albert Andraud (book 1). The excerpt to be reproduced is study number 16 in its entirety. The requested permission extends to any future revisions and editions of my dissertation, including non-exclusive world rights in all languages, and to the prospective publication of my dissertation by ProQuest through its UMI Dissertation Publishing business. ProQuest may produce and sell copies of my dissertation on demand and may make my dissertation available for free internet download at my request. These rights will in no way restrict republication of the material in any other form by you or by others authorized by you. Your permission will also confirm that your compnay owns the copyright to the above-described material. If these arrangements meet with your approval, please send a signed letter via email. If you need a hard-copy letter, I will be happy to provide you with one and a self-addressed return enveope. Thank you very much. Sincerely, Cynthia Behmer PERMISSION GRANTED FOR THE USE REQUESTED ABOVE: ______Date: ______

125

Musical examples from Long Tone Warm-Up for Oboe and English Horn by Neil Tatman are reprinted with permission by OboeNet Publications:

© Copyright 2002, by OboeNet Publications.

From: Tatman, Neil E - (oboenet) To: Cindy Behmer Subject: RE: permission to reprint musical example in dissertation Date: Thu, Jul 21, 2011 2:49 pm

Hi, Cindy! Greetings! Can't wait to hear more about your trip! Yes, of course, you have my permission! Cheers! Neil

From: Cindy Behmer [[email protected]] Sent: Wednesday, July 20, 2011 11:21 AM To: Tatman, Neil E - (oboenet) Subject: permission to reprint musical example in dissertation

Dear Dr. Tatman: I am completing a doctoral dissertation at the University of Arizona entitled "Pedagogical Insights to Successful English Horn Performance: a Guide for College-Level Oboists." I would like your permission to reprint excerpts from Long Tone Warm-Up for Oboe and English Horn (copyright 2002 by OboeNet Publications: ONP 011402). The requested permission extends to any future revisions and editions of my dissertation, including non-exclusive world rights in all languages, and to the prospective publication of my dissertation by ProQuest through its UMI Dissertation Publishing business. Your permission will also confirm that your company owns the copyright to the above-described material. If these arrangements meet with your approval, please reply via email. If you need a hard-copy letter, I will be happy to provide you with one and a self-addressed return envelope. Thank you very much. Sincerely, Cynthia Behmer

126

Musical examples from the following compositions are public domain in the USA:

Gottlob! nun geht das Jahr zu Ende, BWV 28 (1725) and Herr Gott, dich loben wir, BWV 16 (1726) by J.S. Bach

La danza (1755) by Christoph Gluck

Symphony No 22 (1764) by Joseph Haydn

William Tell Overture (1829) by Gioachino Rossini

“No. 5” and “No. 18” from “Forty Progressive Melodies” from A Complete Method for the Oboe, Original Edition (1862) by A.M.R. Barret

Roman Carnival Overture (1843) by Hector Berlioz

“No. 5” and “No. 18” from “Forty Progressive Melodies” from A Complete Method for the Oboe, Original Edition (1862) by A.M.R. Barret

Romeo and Juliet Fantasy Overture (1880) and Nutcracker Ballet (1892) by Peter Tchaikovsky

Symphony No. 9 (1893) by Antonin Dvořák

Mother Goose Suite (1908) by Maurice Ravel

Three Cornered Hat (1919) by Manuel de Falla

127

APPENDIX D. PERMISSION FOR INCLUSION OF PHOTOGRAPHS

Photographs from the website of Robert H. Cronin are reprinted with permission by Robert H. Cronin:

© Copyright 2010, by Robert H. Cronin.

128

Photographs from the website of Sand N. Dalton are reprinted with permission by Sand N. Dalton:

© Copyright 2011, by Sand N. Dalton.

129

Photographs taken by Edwin Serrano are reprinted with permission by Edwin Serrano:

© Copyright 2011, by Edwin Serrano.

From: Edwin Serrano To: Cindy Behmer Subject: Re: Formal Permission to use Photographs in Dissertation Date: Fri, Jul 22, 2011 6:28 pm

I (Edwin Serrano) grant permission to you (Cindy Behmer) to reprint the photographs I was hired to take of your instruments on April 26, 2011 for inclusion in your dissertation document for the advancement of academic knowledge.

On Thu, Jul 21, 2011 at 3:03 PM, Cindy Behmer wrote: Dear Edwin Serrano, I am completing a doctoral dissertation at the University of Arizona entitled "Pedagogical Insights to Successful English Horn Performance: a Guide for College-Level Oboists." I would like your permission to reprint the photographs I hired you to take of my instruments on April 26, 2011 for inclusion in my dissertation document. The requested permission extends to any future revisions and editions of my dissertation, including non-exclusive world rights in all languages, and to the prospective publication of my dissertation by ProQuest through its UMI Dissertation Publishing business. ProQuest may produce and sell copies of my dissertation on demand and may make my dissertation available for free internet download at my request. These rights will in no way restrict republication of the material in any other form by you or by others authorized by you. If these arrangements meet with your approval please reply ,as soon as possible, stating your approval. Thank you very much. Sincerely, Cynthia Behmer

130

DISCOGRAPHY

Giacobassi, Julie Ann. Julie Ann Giacobassi: English Horn and Oboe D’Amore. 2002 at Fish Creek Music FCM CD102. Compact disc.

______. Orchestral Excerpts for English Horn with Spoken Commentary. 2001 by Summit Records. DCD 307. Compact disc.

Gluck, Christoph Willibald. La Corona – La Danza. Orchestra of the Warsaw Chamber Opera with Tomasz Bugaj. 1983 by ORFEO Stereo Digital. C 135 872 H. Compact disc.

Gordon, Marc. Chamber Music for English Horn and Strings. 2004 by AAM Recordings. MG6865. Compact disc.

Hove, Carolyn. Carolyn Hove: English Horn & Oboe. 1996 at Crystal Records. CD328. Compact disc.

______. Carolyn Hove: English Horn. 2000 at Crystal Records. CD329. Compact disc.

Kernis, Aaron Jay. Colored Field, Still Movement with Hymn. Julie Ann Giacobassi and San Francisco Symphony. 1996 at Argo. 448 174-2. Compact disc.

McFarland, Patrick. Diversions for English Horn. 1991 at Arundax Recordings. 80140. Compact disc.

______. Gems for English Horn. 1995 at Arundax Recordings. 21339. Compact disc.

______. Music for Double Reeds. 2000 at Arundax Recordings. 2673. Compact disc.

______. Patrick McFarland and Friends. [2010] at Boston Records. BR1075CD. Compact disc.

Stacy, Thomas. Oboe d’Amore Concertos by J.S. Bach and Telemann. 2008 at Naxos. 8.570735. Compact disc.

______. Plaintive Melody: Thomas Stacy; English Horn. 2003 at Delos. B0000AQRZM. Compact disc.

______. Thomas Stacy: Principal English Horn, New York Philharmonic. 1998 at Cala Records. CACD 0511. Compact disc.

131

______. Thomas Stacy: Three Concerti. 1995 at New World Records. 80489-2. Compact disc.

132

REFERENCES

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