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The Evolving Role of the Solo Euphonium in Orchestral Music: An

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The Evolving Role of the Solo Euphonium in Orchestral Music: An THE EVOLVING ROLE OF THE SOLO EUPHONIUM IN ORCHESTRAL MUSIC: AN ANALYSIS OF LORIN MAAZEL’S MUSIC FOR FLUTE AND ORCHESTRA WITH TENOR TUBA OBBLIGATO AND KARL JENKINS’S CANTATA MEMORIA Boonyarit Kittaweepitak, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2020 APPROVED: David Childs, Major Professor Eugene M. Corporon, Committee Member Donald C. Little, Committee Member Natalie Mannix, Interim Chair of the Division of Instrumental Studies Felix Olschofka, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Kittaweepitak, Boonyarit. The Evolving Role of the Solo Euphonium in Orchestral Music: An Analysis of Lorin Maazel’s “Music for Flute and Orchestra with Tenor Tuba Obbligato” and Karl Jenkins’s “Cantata Memoria.” Doctor of Musical Arts (Performance), August 2020, 52 pp., 15 musical examples, 7 appendices, bibliography, 24 titles. The euphonium has been an integral part of wind bands and brass bands for more than a century. During this time the instrument has grown in stature in both types of band, as an ensemble member and a solo instrument. Until recently, however, the instrument has been underrepresented in orchestral literature, although a growing number of composers are beginning to appreciate the characteristics of the instrument. The purpose of this research is to explore the perceived rise of the euphonium in an orchestral environment through analyzing the significance of the role it plays within Lorin Maazel’s Music for Flute with Tenor Tuba Obbligato (1995) and Karl Jenkins’ Cantata Memoria (2005); specifically, how the euphonium contributes to the orchestral scores in relation to its capabilities as an instrumental voice. Copyright 2020 By Boonyarit Kittaweepitak ii TABLE OF CONTENTS Page LIST OF MUSICAL EXAMPLES ................................................................................................ iv CHAPTER 1. INTRODUCTION ................................................................................................... 1 Background and Significance ............................................................................................. 1 The Different Roles of the Euphonium in the Wind Band and Brass Band ....................... 3 The Role of the Euphonium in the Orchestra ..................................................................... 5 CHAPTER 2. THE INFLUENCE OF BRIAN BOWMAN AND DAVID CHILDS ON THE COMPOSITIONAL PROCESS...................................................................................................... 7 Influence of Brian Bowman on the Compositional Process of Maazel’s Music for Flute and Orchestra ..................................................................................................................... 7 Influence of David Childs on the Compositional Process of Jenkins’s Cantata Memoria ........................................................................................................................................... 10 CHAPTER 3. MUSICAL AND TECHNICAL ANALYSES ...................................................... 14 Lorin Maazel, Music for Flute and Orchestra, with Tenor Tuba Obbligato, Op. 11 (1995) ........................................................................................................................................... 14 Sir Karl Jenkins, Cantata Memoria (2016)....................................................................... 19 CHAPTER 4. CONCLUSION...................................................................................................... 26 APPENDIX A. LIST OF REPERTOIRE FOR SOLO EUPHONIUM WITH ORCHESTRA .... 28 APPENDIX B. QUOTATIONS USED BY SIR KARL JENKINS IN CANTATA MEMORIA .. 33 APPENDIX C. IRB APPROVAL ................................................................................................ 35 APPENDIX D. LETTER OF CONSENT FROM BRIAN BOWMAN ....................................... 37 APPENDIX E. LETTER OF CONSENT FROM DAVID CHILDS ........................................... 39 APPENDIX F. TRANSCRIPT OF BRIAN BOWMAN INTERVIEW, MARCH 28, 2020 ....... 41 APPENDIX G. TRANSCRIPT OF DAVID CHILDS INTERVIEW, MARCH 18, 2020 .......... 46 BIBLIOGRAPHY ......................................................................................................................... 51 iii LIST OF MUSICAL EXAMPLES Page Example 1: Lorin Maazel, Music for Flute and Orchestra with Tenor Tuba Obbligato, Comodo, flute solo, rehearsal number 1 ....................................................................................................... 15 Example 2: Maazel, Music for Flute, Comodo, tenor tuba obbligato, rehearsal number 3 .......... 15 Example 3: Maazel, Music for Flute, Comodo, flute and tenor tuba, rehearsal number 7 ........... 16 Example 4: Maazel, Music for Flute, Playful, tenor tuba plays melody, rehearsal number 20 .... 17 Example 5: Maazel, Music for Flute, Languid, Flute solo with bass clarinet, tenor tuba, and cello obbligato, rehearsal number 2 ....................................................................................................... 18 Example 6: Maazel, Music for Flute, Finale, tenor tuba solo, rehearsal number 65 .................... 18 Example 7: Sir Karl Jenkins, Cantata Memoria, Cortège, Bb euphonium solo, mm. 21-31 ....... 20 Example 8: Jenkins, Cantata Memoria, Cortège, horn in F doubling part with euphonium in Bb, mm. 18-21 ..................................................................................................................................... 21 Example 9: Jenkins, Cantata Memoria, Cortège, euphonium in Bb, mm.18-21 .......................... 21 Example 10: Jenkins, Cantata Memoria, Lacrimosa Lullaby, baritone solo, m. 22 .................... 22 Example 11: Jenkins, Cantata Memoria, Lacrimosa Lullaby, Bb euphonium obbligato,............ 22 Example 12: Jenkins, Cantata Memoria, Lacrimosa Lullaby, Bb Euphonium obbligato, ........... 23 Example 13: Jenkins, Cantata Memoria, Lacrimosa Lullaby, Bb euphonium solo, mm. 19-22 . 24 Example 14: Jenkins, Cantata Memoria, Lacrimosa Lullaby, Bb Euphonium. mm. 47-51 ........ 24 Example 15: Jenkins, Cantata Memoria, Lacrimosa Lullaby, Violin solo, mm. 47-51 ............... 24 iv CHAPTER 1 INTRODUCTION Background and Significance The purpose of this dissertation is to explore the evolving role of the solo euphonium in the orchestral environment through analyzing the role it takes in Lorin Maazel’s Music for Flute and Orchestra with Tenor Tuba Obbligato, Op. 11 (1995), and Karl Jenkins’s Cantata Memoria (2005). Specifically, the euphonium can contribute its singing line in both solo parts and counterpoint. In Chapter 2, I assess the contribution made by euphonium players and collaborative relationships between composers and players, also presenting interviews with Dr. Brian Bowman and David Childs, who gave the word premieres of the works by Maazel and Jenkins, respectively. In Chapter 3, I analyze both works, focusing on the musical language that both composers use in writing for solo euphonium in orchestral music. The euphonium is a fairly new voice when compared with other brass instruments such as the trombone and trumpet, although its lineage goes in to with its earliest predecessor—the serpent, a bass member of the cornett family. The serpent has a conical bore and is snake-like shape—thus the name—and, like the euphonium, requires a cupped mouthpiece to play.1 It has a tenor voice similar to that of the euphonium. The serpent was used in a number of important works of the eighteenth and nineteenth century, such as George Frideric Handel’s Music for Royal Fireworks (1749) for orchestra, Beethoven’s Military March in D major (1816) for wind band, and Richard Wagner’s opera Rienzi (1842).2 1 Lloyd E. Bone Jr., Eric Paull, and R. Winston Morris, Guide to the Euphonium Repertoire (Bloomington: Indiana University Press, 2007). 2 Clifford Bevan, The Tuba Family (New York: Charles Scribner’s Sons, 1986), 67. 1 Hector Berlioz’s Symphony Fantastique (1830) also featured the serpent together with another of the euphonium’s predecessors, the ophicleide. The ophicleide was introduced in 1817 by Jean Hilaire Asté as the lowest member of the family of keyed bugles, making its first appearance in Gaspare Spontini’s coronation march Olimpie (Paris, 1819),3 before Felix Mendelssohn famously wrote for it in his incidental music to A Midsummer Night’s Dream (1826). Although the ophicleide has a bassoon-like appearance, it is made of brass and, like the serpent, played using a cupped mouthpiece similar to that of the euphonium.4 The ophicleide’s key system, which controlled pitch with greater accuracy and efficiency than the serpent, led to the instrument’s development for playing solos. The piston valve system for brass instruments developed by Heinrich Stölzel and Friedrich Blühmel around 1815 paved the way for William Wieprecht’s Tenorbasshorn in 1823, before Carl Moritz invented what was known called the Tenor Tuba in 1838. These developments led directly to Ferdinand Sommer’s invention in 1843 of what we now know as the euphonium, a product of the Industrial Revolution. His piston valve instrument patented as the “euphonion” in 1844 has been seen as the first model of the modern-day euphonium.5 For several reasons, the euphonium grew in popularity and eventually superseded its predecessors. Having only three to five piston valves, early euphoniums were generally much easier to operate
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