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The Inspiration Behind Compositions for Clarinetist Frederick Thurston
THE INSPIRATION BEHIND COMPOSITIONS FOR CLARINETIST FREDERICK THURSTON Aileen Marie Razey, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 201 8 APPROVED: Kimberly Cole Luevano, Major Professor Warren Henry, Committee Member John Scott, Committee Member John Holt, Chair of the Division of Instrumental Studies Benjamin Brand, 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 Razey, Aileen Marie. The Inspiration behind Compositions for Clarinetist Frederick Thurston. Doctor of Musical Arts (Performance), August 2018, 86 pp., references, 51 titles. Frederick Thurston was a prominent British clarinet performer and teacher in the first half of the 20th century. Due to the brevity of his life and the impact of two world wars, Thurston’s legacy is often overlooked among clarinetists in the United States. Thurston’s playing inspired 19 composers to write 22 solo and chamber works for him, none of which he personally commissioned. The purpose of this document is to provide a comprehensive biography of Thurston’s career as clarinet performer and teacher with a complete bibliography of compositions written for him. With biographical knowledge and access to the few extant recordings of Thurston’s playing, clarinetists may gain a fuller understanding of Thurston’s ideal clarinet sound and musical ideas. These resources are necessary in order to recognize the qualities about his playing that inspired composers to write for him and to perform these works with the composers’ inspiration in mind. Despite the vast list of works written for and dedicated to Thurston, clarinet players in the United States are not familiar with many of these works, and available resources do not include a complete listing. -
The Publication History of Spohr's Clarinet Concertos
THE PUBLICATION HISTORY OF SPOHR'S CLARINET CONCERTOS by Keith Warsop N DISCUSSING the editions used for the recording by French clarinettist paul Meyer of Spohr's four concertos for the instrument on the Alpha label (released as a two-CD set, ALPHA 605, with the orchestre de Chambre de Lausanne), reviewers in the November 2012 issues of the Gramophone and,Internotional Record Review magazines came to some slightly misleading conclusions about this subject so that it has become important to clarify matters. Carl Rosman, writing in 1RR, ,authentic, said: "Meyer has also taken steps towards a more text fbr these concertos. While the clarinet works of Mozart, Brahms and Weber have seen various Urtext editions over the years, Spohr's concertos circulate only in piano reductions from the late nineteenth century ... Meyer has prepared his own editions from the best available sources (the manuscripts of all but No.4 have been lost but there are contemporary manuscript copies of the others held at the Louis Spohr Society in Kassel); this has certainly giu., him lreater freedom in the area of articulation, and also allowed him to adopt some more-flowing temios than the late nineteenth-century editions specify.', In the Gramophone, Nalen Anthoni stated: "Hermstedt demanded exclusive rights and, presumably, kept the autographs. Only that of No.4 was found, in 1960. The other works have been put together from manuscript copies. Paul Meyer seems largely attuned to the solo parts edited by stanley Drucker, the one-time principal ciarinettist of the New york philharmonic. Michael Collins [on the Hyperion label] is of similar mind, though both musicians add their own individual touches phrasing to and articulation. -
Professor De Música / Clarinete Boa Sorte !
SECRETARIA DE ADMINISTRAÇÃO DO ESTADO SECRETARIA DE EDUCAÇÃO CONCURSO PÚBLICO Não deixe de preencher as informações a seguir. Prédio Sala Nome Nº de Identidade Órgão Expedidor UF Nº de Inscrição PROFESSOR DE MÚSICA / CLARINETE ATENÇÃO Abra este Caderno, quando o Fiscal de Sala autorizar o início da Prova. Observe se o Caderno está completo. Ele deverá conter 60 (sessenta) questões objetivas de múltipla escolha com 05 (cinco) alternativas cada, sendo 10 (dez) questões de Língua Portuguesa, 10 (dez) questões de Conhecimentos Pedagógicos e 40 (quarenta) questões de Conhecimentos Específicos. Se o Caderno estiver incompleto ou com algum defeito gráfico que lhe cause dúvidas, informe, imediatamente, ao Fiscal. Uma vez dada a ordem de início da Prova, preencha, nos espaços apropriados, o seu Nome completo, o Número do seu Documento de Identidade, a Unidade da Federação e o Número de Inscrição. Para registrar as alternativas escolhidas nas questões objetivas de múltipla escolha, você receberá um Cartão-Resposta de Leitura Ótica. Verifique se o Número de Inscrição impresso no Cartão coincide com o seu Número de Inscrição. As bolhas constantes do Cartão-Resposta devem ser preenchidas, totalmente, com caneta esferográfica azul ou preta. Preenchido o Cartão-Resposta, entregue-o ao Fiscal, juntamente com este Caderno e deixe a sala em silêncio. BOA SORTE ! LÍNGUA PORTUGUESA Texto I para as questões de 01 a 05. Vida Moderna Olhar para o céu noturno é quase um privilégio em nossa atribulada e iluminada vida moderna. (...)Companhias de turismo deveriam criar “excursões noturnas”, em que grupos de pessoas são transportados até pontos estratégicos para serem instruídos por um astrônomo sobre as maravilhas do céu noturno. -
A Chinese Clarinet Legend Also in This Issue
Vol. 45 • No. 1 December 2017 Tao AChunxiao: Chinese Clarinet Legend Also in this issue... ClarinetFest® 2017 Report The Genesis of Gustav Jenner’s Clarinet Sonata D’ADDARIO GIVES ME THE FREEDOM TO PRODUCE THE SOUND I HEAR IN MY HEAD. — JONATHAN GUNN REINVENTING CRAFTSMANSHIP FOR THE 21ST CENTURY. President’sThe EDITOR Rachel Yoder [email protected] ASSOCIATE EDITOR Jessica Harrie [email protected] EDITORIAL BOARD Dear ICA Members, Mitchell Estrin, Heike Fricke, Jessica Harrie, ope you are enjoying a wonderful new season Caroline Hartig, Rachel Yoder of music making with fulflling activities and MUSIC REVIEWS EDITOR events. Many exciting things are happening in Gregory Barrett – [email protected] our organization. Te ICA believes that if you Hdo good things, good things happen! I want to thank everyone AUDIO REVIEWS EDITOR who has contributed to our Capital Campaign. We especially Chris Nichols – [email protected] wish to thank Alan and Janette Stanek for their amazing gift of $11,250.00 to fund our competitions for the coming GRAPHIC DESIGN ClarinetFest® 2018. Te ICA is grateful for your generosity Karry Tomas Graphic Design and the generosity of all Capital Campaign donors. Please [email protected] visit www.youcaring.com/internationalclarinetassociation to Caroline Hartig make your donation today. We would love to hear your story ADVERTISING COORDINATOR and look forward to our continued campaign which will last Elizabeth Crawford – [email protected] through ClarinetFest® 2018. Also, visit www.clarinet.org/ donor-wall to check out our donor wall with many photos and thank-yous to those who INDEX MANAGER contributed to the ICA for ClarinetFest® 2017. -
Queensland Conservatorium Griffith University The
QUEENSLAND CONSERVATORIUM GRIFFITH UNIVERSITY THE MOZART BASSET CLARINET CONCERTO K.622: CURRENT PHILOSOPHIES ON FORMING AN INTERPRETATION Justin Beere, Bmus. A dissertation submitted in partial fulfilment Of the requirement for the degree of Bachelor of Music with Honours October 2009 CERTIFICATION I hereby certify that this work has not previously been submitted in whole or part by me of any other person for qualification or award in any university. I further certify that to the best of my knowledge and belief, this dissertation contains no material previously published or written by another person except where due reference is made in the dissertation itself. Signed ………………………………. Date ………………………………… ii ACKNOWLEDGMENTS I would like to acknowledge my ever-patient supervisor Dr Scott Harrison for his guidance and assistance through this project. The study would not have been successful without the very generous case study subjects and my sincere thanks go to Paul Dean and Craig Hill who were so willing to take part and taught me so much in the process. I am indebted to the Librarians of the Queensland Conservatorium and Dr Stephen Emmerson for ideas on content and resources. Gregg Howard and Dr Brydie- Leigh Bartleet were critical in the early phases in assisting with process and formatting issues on projects of this scale. Finally, I would like to thank dear friends Gwenneth Lippiatt, Joy Conolly, Stewart Kelly and David Ouch for their tireless assistance in proofreading, formatting and many early morning discussions on philosophy and content. iii ABSTRACT Mozart’s writings for the clarinet and historically related instruments provide some of the richest and most studied and performed repertoire in the clarinettists’ canon. -
English Music for Clarinet and Piano Bax • Fiske • Hamilton • Wood • Bennett
THE THURSTON CONNECTION English Music for Clarinet and Piano Bax • Fiske • Hamilton • Wood • Bennett Nicholas Cox, Clarinet Ian Buckle, Piano The Thurston Connection The Clarinet Sonata, written in 1934, is in two Roger Fiske (1910-1987): Clarinet Sonata English Music for Clarinet and Piano contrasting movements, with a cyclical return of the Sonata’s opening material at the end of the second Roger Fiske was an English musicologist, broadcaster, After starting the clarinet with his father at the age of episode appears to have been forgotten, for he movement. Opening in D major with a sumptuous clarinet author and composer. After taking a BA in English at seven, Frederick Thurston (1901-1953) went on to study immediately summoned Thurston to join the orchestra. melody played over a sonorous piano chord, the initial Wadham College, Oxford in 1932, he studied composition with Charles Draper at the Royal College of Music on an Thurston made a ‘beautiful firm sound’ on his Boosey fourteen bars of the Molto moderato first movement seem with Herbert Howells at the Royal College of Music in Open Scholarship. In the 1920s he played with the Royal and Hawkes wider 10-10 bore clarinets, with which he could to encompass so much harmonically and melodically that London. Awarded an Oxford Doctorate in Music in 1937, Philharmonic Orchestra, the Orchestra of Covent Garden project pianissimo ‘to the back of the Royal Albert Hall’. He one wonders where Bax will subsequently take the he subsequently joined the staff of the BBC where he and the BBC Wireless Orchestra, becoming Principal made relatively few recordings, but those we have suggest listener. -
Dissertation 3.19.2021
Cultivating the Contemporary Clarinetist: Pedagogical Materials for Extended Clarinet Techniques Caitlin Beare A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2021 Reading Committee: Timothy Salzman, Chair David Rahbee Benjamin Lulich Program Authorized to Offer Degree: Music © Copyright 2021 Caitlin Beare University of Washington Abstract Cultivating the Contemporary Clarinetist: Pedagogical Materials for Extended Clarinet Techniques Caitlin Beare Chair of the Supervisory Committee: Timothy Salzman School of Music The exploration and implementation of new timbral possibilities and techniques over the past century have redefined approaches to clarinet performance and pedagogy. As the body of repertoire involving nontraditional, or “extended,” clarinet techniques has grown, so too has the pedagogical literature on contemporary clarinet performance, yielding method books, dissertations, articles, and online resources. Despite the wealth of resources on extended clarinet techniques, however, few authors offer accessible pedagogical materials that function as a gateway to learning contemporary clarinet techniques and literature. Consequently, many clarinetists may be deterred from learning a significant portion of the repertoire from the past six decades, impeding their musical development. The purpose of this dissertation is to contribute to the pedagogical literature pertaining to extended clarinet techniques. The document consists of two main sections followed by two appendices. The first section (chapters 1-2) contains an introduction and a literature review of extant resources on extended clarinet techniques published between 1965–2020. This literature review forms the basis of the compendium of materials, found in Appendix A of this document, which aims to assist performers and teachers in searching for and selecting pedagogical materials involving extended clarinet techniques. -
Instructions for Authors
Journal of Science and Arts Supplement at No. 2(13), pp. 157-161, 2010 THE CLARINET IN THE CHAMBER MUSIC OF THE 20TH CENTURY FELIX CONSTANTIN GOLDBACH Valahia University of Targoviste, Faculty of Science and Arts, Arts Department, 130024, Targoviste, Romania Abstract. The beginning of the 20th century lay under the sign of the economic crises, caused by the great World Wars. Along with them came state reorganizations and political divisions. The most cruel realism, of the unimaginable disasters, culminating with the nuclear bombs, replaced, to a significant extent, the European romanticism and affected the cultural environment, modifying viewpoints, ideals, spiritual and philosophical values, artistic domains. The art of the sounds developed, being supported as well by the multiple possibilities of recording and world distribution, generated by the inventions of this epoch, an excessively technical one, the most important ones being the cinema, the radio, the television and the recordings – electronic or on tape – of the creations and interpretations. Keywords: chamber music of the 20th century, musical styles, cultural tradition. 1. INTRODUCTION Despite all the vicissitudes, music continued to ennoble the human souls. The study of the instruments’ construction features, of the concert halls, the investigation of the sound and the quality of the recordings supported the formation of a series of high-quality performers and the attainment of high performance levels. The international contests organized on instruments led to a selection of the values of the interpretative art. So, the exceptional professional players are no longer rarities. 2. DISCUSSIONS The economic development of the United States of America after the two World Wars, the cultural continuity in countries with tradition, such as England and France, the fast restoration of the West European states, including Germany, represented conditions that allowed the flourishing of musical education. -
Techniky Hry Na Saxofon V Jazzové a Klasické Hudbě
JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Katedra jazzové interpretace Studijní obor Jazzová interpretace Techniky hry na saxofon v jazzové a klasické hudbě Diplomová práce Autor práce: BcA. Radim Hanousek Vedoucí práce: doc. Martin Smolka Oponent práce: Mgr. Jan Přibil, DiS. Brno 2016 Techniky hry na saxofon v jazzové a klasické hudbě HANOUSEK, Radim. Techniky hry na saxofon v jazzové a klasické hudbě. Brno: Janáčkova akademie múzických umění v Brně, Fakulta hudební, Katedra jazzové interpretace, 2016, 57 s. Vedoucí diplomové práce doc. Martin Smolka. Anotace Diplomová práce „Techniky hry na saxofon v jazzové a klasické hudbě“ pojednává o rozšířených technikách hry na saxofon, srovnává jejich historii, používání a literaturu v jazzové a klasické hudbě. Annotation This Master's Thesis titled „Saxophone playing techniques in jazz and classical music“ focuses on extended techniques of playing saxophone, compares the history, uses and literature in jazz and classical music. Klíčová slova rozšířené techniky, saxofon, experimentální jazz, volná improvizace, soudobá hudba Keywords extended techniques, saxophone, experimental jazz, open improvisation, contemporary music Prohlášení Prohlašuji, že jsem předkládanou práci zpracoval samostatně a použil jen uvedené prameny a literaturu. V Brně, dne 13. května 2016 Radim Hanousek Poděkování Na tomto místě bych rád poděkoval doc. Martinovi Smolkovi a MgA. Jaroslavovi Šťastnému, PhD. za inspiraci, spoustu užitečných informací a hudebních zdrojů. Obsah Předmluva ................................................................................................................... -
Curriculum Andrea Ferrari
ANDREA FERRARI Saxophones and clarinet’s player |composer |educator Eb clarinet, clarinet, alto sax, baritone saxophone, bass saxophone, bass clarinet, contrabass clarinet, Eb tubax He started studying the clarinet at the age of seven. He earned a level two diploma in the clarinet at the G. Nicolini Conservatory in Piacenza. He earned a second level diploma in music in the interpretative and compositional area of jazz music at the A. Buzzolla State Conservatory of Adria (RO). He has collaborated and continues to collaborate with various chamber groups, and, in particular, he has carried out in-depth study and investigation regarding the conception and the classical and modern repertoire for clarinet quartets. In this regard, from 1988 to 2004 he was a member of the Martesana Quartet (clarinets) with which in 1993 he was the only Italian representative at the Strasbourg Congress Centre on the occasion of the European Days of the Clarinet, in concerts organised within the framework of the Musikmesse of Frankfurt, at the Clarinet Fest organised by the International Clarinet Association respectively in Lubbock (Texas), in Ostend (Belgium), in Budapest (Hungary), in Beijing (China). He has collaborated with various chamber music and jazz ensembles with whom he has held numerous performances in important Italian theatres (Filodrammatici Theatre Milan, PAC Milan, Pavoni Theatre Perugia, Puccini Theater Florence, La Fenice Theatre Venice, Teatro Romano Verona, Ponchielli Theatre Cremona, etc.). He deepened his study of the clarinet and basset horn, earning a monographic recording project ("Divertimentos and Nocturnes" Antes) involving the Mozart production for a basset horn trio. This project saw him collaborate both in the concert environment and in the recording with the internationally renowned clarinettist Antony Pay. -
Spohr's Clarinet Concertos: the Transmission of the Text
SPOHR'S CLARINET CONCERTOS: THE TRANSMISSION OF THE TEXT by Keith \Marsop Introduction tftOOaV Spohr's forn clariret coocertos are rmked utth the acknowledged masterpieces for the instnrment; even t those lvho criticise Spohr's 'violinistiC' writing for the clarinet are dra*u by the beaut-v of the music and the I challenge it poses for the clarinettist. For instance, the Gerrnan clarineffist f)ieter Kl0cker, in his booklet notes *Even fu'the CIfeo CD C2l3$lA (1990) *rites: todaS some of his clarinet pieces seem to have been written against the inslrument; nevertheless, the quality and richness of the music kee,ps drarring musiciaas into 'Spohr-some advetrtrres.'" The mnertm rrue cornposed for the Sondershausen r,irtuoso Johann Simon Hemrstedt ( 1778- I 846) as follows: No. I in C minor, Op.26 (oomposed Crolha, autunn I 808; first performed Sondsshausen, January 1809; published I 812 in parts o,nly, by Knhrct. Full soore first published 1957). No.2 in E flat major, Op.57 (composed Gotha, spring l8l0: first perfomred Fralke,nhausen July 22, 1810; published 1822 itr parts on$, by Peters - the successor of Kilbnel First publication of ftll soore forl&ooming) No3 in F minor, WoO. 19 (composed Gandersheim, May I 82 1 ; first performed Alexisba{ Ialy 27 , 1821 ; published 1885 in piaao arrangement only, by Breitkopf. Full score unpublished) No.4 in E minor, WoO.20 (composed Kassel, August 1328; frst performed Nordhausen, June 12, 1829; published 1885 in piano arrangement ouly, by Breitko'pf. Full score first published 1 976) WIrile thesd four conc.€rtos are now- part of the repertoire of international soloists (among others, John Denmau, EmmaJohson, TheaKiag Colin Lawson, Karl Leister, Ernst Otteasamer, Antony Pay aad Cervase de Peyer) it took a long time for this to happen msly years after &e concertos of Mozart and Weber had beeu established. -
English Chamber Orchestra JEFFREY TATE Conductor
THE UNIVERSITY MUSICAL SOCIETY OF THE UNIVERSITY OF MICHIGAN English Chamber Orchestra JEFFREY TATE Conductor FRANK PETER ZIMMERMANN, Violinist THEA KING, Clarinetist MONDAY EVENING, MARCH 7, 1988, AT 8:00 HILL AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM Overture to The Marriage of Figaro ................................ MOZART Concerto No. 3 in G major for Violin and Orchestra, K. 216 ........ MOZART Allegro Adagio Rondo: allegro FRANK PETER ZIMMERMANN, Violinist INTERMISSION Mini-Concerto for Clarinet and Strings (1980) ................ GORDON JACOB Allegro Adagio Allegretto moderate Allegro vivace THEA KING, Clarinetist Symphony No. 101 in D major, "The Clock" ....................... HAYDN Adagio, presto Andante Menuetto: allegro Finale: vivace The University Musical Society expresses gratitude to Ford Motor Company Fund for its generosity in underwriting the printing costs of this house program. Cameras and recording devices are not allowed in the auditorium. Halls Cough Tablets, courtesy of Warner-Lambert Company, are available in the lobby. Thirty-third Concert of the 109th Season 109th Annual Choral Union Series PROGRAM NOTES Overture to The Maniave ofFivaro ............ WOLFGANG AMADEUS MOZART (1756-1791) Written in 1786, The Marriage ofFigaro is one of Mozart's greatest operas in the Italian style. It embodies Beaumarchais' bitter indictment of the tyranny, greed, and immorality of the nobility. After the sensational success of Beaumarchais' play in Paris in 1784, Mozart suggested to his librettist, Lorenzo da Ponte, the idea of making it into an opera. Already in the autumn of 1785, Mozart was at work on his music, composing with feverish haste, even as Da Ponte hurried to complete the libretto. "As fast as I wrote the words," Da Ponte recounts in his memoirs, "Mozart wrote the music, and it was all finished in six weeks." The overture, however, was composed last, completed only the day before the first performance.