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U·M·I University Microfilms International a Bell & Howell Information Company 300 North Zeeb Road The treatment of the bassoon in three chamber works of Igor Stravinsky. Item Type text; Dissertation-Reproduction (electronic) Authors Hausfeld, Gretchen Gayle. 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 29/09/2021 07:26:58 Link to Item http://hdl.handle.net/10150/186265 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. U·M·I UniverSity Microfilms International A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. M148106-1346 USA 313:761-4700 800/521-0600 Order Number 9328569 The treatment of the bassoon in three chamber works of Igor Stravinsky Hausfeld, Gretchen Gayle, A.Mus.D. The University of Arizona, 1993 Copyright ®1993 by Hausfeld, Gretchen Gayle. All rights reserved. U·M·I 300 N. Zeeb Rd Ann Arbor, MI 48106 THE TREATMENT OF THE BASSOON IN THREE CHAMBER WORKS OF IGOR STRAVINSKY by Gretchen Gayle Hausfeld copyright @ Gretchen Gayle Hausfeld 1993 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 199 3 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Final Examination Committee, we certify that we have read the document prepared by Gretchen G. Hausfeld entitled "THE TREATMENT OF THE BASSOON IN THREE CHAMBER WORKS OF IGOR STRAVINSKY" and recommend that it be accepted as fulfilling the requirements for the Degree of __~D~o~c~t~o~r~o~f~£Mllu~s~1~'~c~a~1~A~r~t~s~ __________________________ 4- - 12 - 9-;? Date Yk~6-J Date) ~I;22/rJ Date 7 7 Date Date Final approval and acceptance of this document is contingent upon the candidate's submission of the final copy 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 requirement. 1- I Z -93 Director Date 2 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 acknowledgement 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. 3 ACKNOWLEDGEMENT This lecture document would not have been possible without the immeasurable support and understanding that I have received from friends, colleagues, professors, and family - especially my father for his emotional support and sense of humor. I would like to thank Gerald Corey of the University of Ottawa for sharing his extensive and invaluable knowledge of the French system bassoon. I extend my thanks and gratitude to the members of my doctoral committee for monitoring the progress of my degree and supporting me through the final stages. I am greatly indebted to and extend my sincerest gratitude to Dr. William Dietz for his guidance and assistance throughout the duration of this lecture document and my tenure at The University of Arizona. A very special thank you is extended to my grandmother, brother and sister-in-law, and two very special people, A. E. and J. R., for their continuous support and guidance throughout my collegiate career. 4 DEDICATION This document is dedicated with love and gratitude to my mother - without her support and strong belief in me I would have never made it this far!! 5 TABLE OF CONTENTS ABSTRACT ••••••••• ...... .. .6 1. INTRODUCTION •••• .. ..................... .7 2. STRAVINSKY •• .. • •••• 10 3. THE BASSOON •• .. .. ...... • •• 13 origin - French and German Systems. • •• 13 Tonal Differences •••••••• .17 Mechanical Differences •••••• ........... • •• 19 Reeds ••••••••••••••••••••••• • •.•• • 22 wind Musicians in the u.S. • •• 25 4. COMPOSITIONS •••••••••• .28 5. L'HISTOIRE du SOLDAT. ... • •• 30 Excerpts. • ••• 36 6. OCTET •••••••• • •• 41 Excerpts. ..... • •• 46 7. SEP'l'ET • ••••••• . ................ .56 Excerpts •• . .......... .59 8. CONCLUSIONS ••• .63 APPENDIX I-A, Fingering Charts. ...................... .66 REFERENCES ••. • 67 6 ABSTRACT This document examines Stravinsky's treatment and use of the bassoon in three of his chamber works: L'Histoire du Soldat, Octet, and septet. The research contained within will, in part, assess the extent to which stravinsky has affected the development of the bassoon's role in a chamber ensemble, and will provide a qeneral evaluation of his varied treatment of the bassoon in terms of technique, ranqe, articulation, and ensemble. Another aspect of this study considers the possibility that stravinsky wrote for the French system bassoon. A comparison of the two types of bassoon systems will demonstrate why stravinsky's works seem so unqrateful to many modern bassoonists who have been trained on the German system instrument. 7 Introduction-Part I This paper examines Stravinsky's treatment and use of the bassoon in three of his chamber works. The research contained within will, in part, assess the extent to which stravinsky has affected the development of the bassoon's role in a chamber ensemble, and will also provide a general evaluation of his varied treatment and use of the bassoon in terms of technique, range, articulation, and ensemble. The three chamber works under investigation are L'Histoire du Soldat (The Soldier's Tale), Octet, and Septet. Previous studies concerning Stravinsky's use and treatment of the bassoon have concentrated on selected orchestral works of the composer, usually those written during his early or middle compositional periods. However, there has been virtually no analysis of his treatment of the bassoon in his chamber works. The three chamber works under investigation in this study are compositions chosen from his three major compositional periods as described by Bryan simms, the author of Music of the TWentieth century: Style and structure. He divides stravinsky's music into three chronological periods: 1. c.1909-1920, characterized by experimentation and strong connections to Russian folk art and musical 8 works of other Russian composers (Tbe Soldier's Tale, 1918); 2. 1920-1950, less experimental and Russian in character, and more concerned with stylistic continuity and tradition (Octet, 1922-23); 3. 1950-1966, serial experimentation (Septet, 1952- 53) .1 Another aspect of this study requires an investigation into the matter for which bassoon system, French or German, stravinsky composed. Although the two systems have a common origin, they developed in different ways and each has its distinct tonal concept, key system, and repertoire. There is evidence that Stravinsky wrote for the French bassoon system. According to Kathleen White, in her dissertation entitled, "Selected Solo Bassoon Passages in Early Orchestral Works of Stravinsky", the composer did in fact write for the French system bassoon, although today his works are performed primarily on the German system instrument. 2 Therefore, a concise history of the bassoon's development is presented with a focus on the two distinct IBryan R. simms, Music of tbe TWentietb century: Style and structure (London: Collier Macmillan Publishers, 1986) 213. 2Kathleen White, "Selected solo Bassoon Passages in Early Orchestral Works of Stravinsky," O.M.A. diss., Temple University, 1989, iv. 9 systems which evolved from a common origin. A comparison of the two types of bassoon systems with each of the bassoon parts written by stravinsky will be discussed. The author will then describe the difficulties involved for modern bassoonists, most of whom perform on the German system instrument. It is the belief of this author that these materials will aid the German-system bassoonist in their perspective and performance of Stravinsky's The Soldier's Tale, Octet, and Septet. The author also hopes to demonstrate that although stravinsky wrote for the French system bassoon, the technical demands of his music have since had the unintended effect of encouraging bassoonists trained on the German system to extend the range and technique of their playing. 10 Igor Fyodorovitch Stravinsky (1882-1971) was a Russian composer, who later held French and American citizenship. The son of a leading bass at the Mariinsky Theatre in st. Petersburg, young Stravinsky first pursued a degree in law. In 1902, he became a student of Rimsky-Korsakov, who was an influence on his early music, as were Tchaikovsky, Borodin, Glazunov, Debussy, and Dukas.
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