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Ii the Interpretation of Opera Excerpts for Bassoon

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Ii the Interpretation of Opera Excerpts for Bassoon The Interpretation of Opera Excerpts for Bassoon: A Pedagogical Analysis of Selected Excerpts D.M.A Document Presented in Partial Fulfillment of the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Erik Soren Malmer, M.M. Graduate Program in Music The Ohio State University 2019 D.M.A. Document Committee Professor Karen Pierson, Advisor Doctor Arved Ashby Professor Katherine Borst Jones Professor Robert Sorton ii Copyrighted by Erik Soren Malmer 2019 iii Abstract Although opera presents a sizeable portion of classical music, many bassoonists are oblivious of opera literature. Besides the Marriage of Figaro many bassoonists are blithely unaware of the excerpts on opera bassoon audition lists. This document attempts to introduce and analyze the most popular opera excerpts for principal and second bassoon. Thirty-four opera companies were contacted in an effort to obtain the most accurate listing of opera bassoon excerpts. This document intends to enlighten the reader on a pedagogical approach to opera bassoon excerpts through the history of the composition, a synopsis of the opera, and a pedagogical approach to each excerpt. ii Acknowledgments I wish to express my sincere gratitude and appreciation to my advisor, Professor Karen Pierson. She has helped me grow immensely as a bassoonist and a human over the course of my studies and no amount of thanks can repay her for all of the support. I would like to thank the members of my doctoral committee, Dr. Arved Ashby, Professor Katherine Borst Jones, and Professor Robert Sorton for time and support of my studies at The Ohio State University. Lastly, I would like to thank my family for their continued love and support, without which I would not have been able to complete my studies. iii Vita 2018-2019 ................................................... Adjunct Bassoon Instructor, Marietta College 2016-2019 ........................................ Graduate Teaching Associate, Department of Music, The Ohio State University 2016-2019 ..................................................................... D.M.A. The Ohio State University 2014-2016 ........................................................................ M.M. The Ohio State University 2013-2014 ..................................... Principal Bassoon, Baton Rouge Symphony Orchestra 2008-2012 ............................................................................... B.M. University of Houston Fields of Study Major Field: Music iv Table of Contents Abstract ............................................................................................................................. ii Acknowledgements .......................................................................................................... iii Vita ................................................................................................................................... iv Table of Contents ............................................................................................................. v List of Examples .............................................................................................................. xi Chapter 1: Introduction ................................................................................................... 1 Purpose and Procedures .................................................................................................. 2 Fundamentals ................................................................................................................ 17 Legal Disclaimer ........................................................................................................... 19 Chapter 2: Carmen by Georges Bizet ........................................................................... 20 History of the Composition .......................................................................................... 21 Synopsis ........................................................................................................................ 23 Entr’acte between Acts I and II .................................................................................... 25 Act II, No. 18 Finale ..................................................................................................... 30 Act IV, No. 26, Part 1 ................................................................................................... 32 Chapter 3: Le Nozze di Figaro by Wolfgang Amadeus Mozart ................................. 34 v History of Composition ................................................................................................ 34 Synopsis ........................................................................................................................ 36 Overture ....................................................................................................................... 38 Measures 101-123 ......................................................................................................... 43 Measures 139-151 ......................................................................................................... 44 Chapter 4: L’elisir d’amore by Gaetano Donizetti ...................................................... 46 History of the Composition .......................................................................................... 46 Synopsis ........................................................................................................................ 47 Una furtiva lagrima ....................................................................................................... 49 Chapter 5: Otello by Guiseppe Verdi ........................................................................... 52 History of the Composition .......................................................................................... 52 Synopsis ........................................................................................................................ 54 Act I, Rehearsal C-D ..................................................................................................... 55 Act I, Allegro con Brio ................................................................................................ 59 Act II, 2 bars before rehearsal G to G .......................................................................... 62 Act III, 8 bars after rehearsal H playing 8 bars ............................................................ 64 Chapter 6: Aida by Guiseppe Verdi ............................................................................. 66 History of the Composition .......................................................................................... 66 vi Synopsis ....................................................................................................................... 68 Act III, No. 6 ................................................................................................................ 71 Act I, No. 1, [B] to 1 measure before [D] .................................................................... 74 Act II, No. 4, Reh. K to the end ................................................................................... 77 Chapter 7: Salome by Richard Strauss ........................................................................ 80 History of Composition................................................................................................. 80 Synopsis ....................................................................................................................... 82 Salome’s Dance ............................................................................................................ 84 Act I, 6 before Rehearsal #141 to #142 ........................................................................ 87 Chapter 8: Die Meistersinger von Nürnberg by Richard Wagner ............................ 91 History of the Composition .......................................................................................... 92 Synopsis ....................................................................................................................... 93 Act I, Scene 3, 54th measure for 29 measures .............................................................. 95 Act II, Scene VI, 80 measures before Scene VII for 17 measures ............................... 97 Chapter 9: Wozzeck by Alban Berg ........................................................................... 101 History of the Composition ........................................................................................ 101 Synopsis ..................................................................................................................... 103 Act I, Scene 3, measures 441-443 .............................................................................. 105 Act II, Scene 3, measure 288 to 293 .......................................................................... 109 vii Act I, measures 91-93 ................................................................................................. 112 Chapter 10: Peter Grimes by Benjamin Britten ........................................................ 117 History of the Composition ........................................................................................ 118 Synopsis ..................................................................................................................... 119 Act I, Prologue, beg. for 5 bars .................................................................................
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