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1. Title Page 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 2 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 3 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_____ 4 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. 5 DEDICATION Dedicated with love and gratitude to my parents, Bill and Alice Kutzer and to my husband, Scott Behmer 6 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 8 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
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