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Historical and Performance Perspectives for Oboe from Selected Chamber Repertoire Stephanie B Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2005 Historical and Performance Perspectives for Oboe from Selected Chamber Repertoire Stephanie B. Caulder Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC HISTORICAL AND PERFORMANCE PERSPECTIVES FOR OBOE FROM SELECTED CHAMBER REPERTOIRE By STEPHANIE B. CAULDER A treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2005 Copyright © 2005 Stephanie B. Caulder All Rights Reserved The members of the Committee approve the treatise of Stephanie B. Caulder defended on March 1, 2005. _______________________________________ Eric Ohlsson Professor Directing Treatise _______________________________________ Patrick Dunnigan Outside Committee Member _______________________________________ Jeffrey Keesecker Committee Member _______________________________________ Frank Kowalsky Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGMENTS I would first like to thank my committee chair and teacher, Dr. Eric Ohlsson, for his assistance in preparing this document and for his guidance throughout this degree. I hope to be at least half the teacher to my students that he was to me. My appreciation is also extended to the members of my committee: Dr. Patrick Dunnigan, Professor Jeffrey Keesecker, and Dr. Frank Kowalsky. Thank you so much for overseeing completion of this work, for serving on my committee, and for providing me with wonderful models of musicianship. I would also like to acknowledge my first teacher and one of my biggest supporters, Dr. James Prodan who has taught me what it means to be a successful musician and without whose direction I would not be where I am today. Special thanks to Dr. Laurie Nicholson Stamp, my colleague at IUP, for providing tireless encouragement and friendship during the writing of this document. I will forever be indebted to the “Editorial Police!” Finally, I would like to dedicate this treatise to my family, but especially to my mother, father, and grandmother. Without their emotional and financial support, the completion of my education would never have been possible. Their influence is in all these pages and in my life. From the beginning of my life my mother has given me a love for music. For that, and everything else she has done, I will be eternally grateful. iii TABLE OF CONTENTS List of figures ................................................................................................................................ v Abstract ....................................................................................................................................... vii INTRODUCTION .......................................................................................................................... 1 1. W.A. Mozart, Serenade No.10 in B-flat Major, K.361............................................................. 5 2. W.A. Mozart, Serenade No.12 in C Minor, K.388 ................................................................. 20 3. Ludwig van Beethoven, Octet in E-flat Major, Op.103.......................................................... 30 4. Antonin Dvořák, Serenade in D Minor, Op.44....................................................................... 38 5. Richard Strauss, Serenade for Wind Instruments, Op.7 ......................................................... 49 6. Charles Gounod, Petite Symphonie, Op.90............................................................................. 56 7. Paul Hindemith, Septet for Wind Instruments........................................................................ 62 8. Edgard Varèse, Octandre........................................................................................................ 72 CONCLUSION ............................................................................................................................ 84 BIBLIOGRAPHY......................................................................................................................... 86 BIOGRAPHICAL SKETCH ........................................................................................................ 92 iv LIST OF FIGURES Figure 1.1 Mozart, Serenade No.10 in B-flat Major, K.361, first movement: mm.1-14 ..................................9 Figure 1.2 Mozart, Serenade No.10 in B-flat Major, K.361, first movement: mm.132-139...........................10 Figure 1.3 Mozart, Serenade No.10 in B-flat Major, K.361, first movement: mm.214-219...........................10 Figure 1.4 Mozart, Serenade No.10 in B-flat Major, K.361, second movement: mm.1-16............................11 Figure 1.5 Mozart, Serenade No.10 in B-flat Major, K.361, second movement: mm.91-107........................12 Figure 1.6 Mozart, Serenade No.10 in B-flat Major, K.361, second movement: mm.108-130......................12 Figure 1.7 Mozart, Serenade No.10 in B-flat Major, K.361, third movement: mm.4-5 .................................13 Figure 1.8 Mozart, Serenade No.10 in B-flat Major, K.361, third movement: mm.42-46 .............................14 Figure 1.9 Mozart, Serenade No.10 in B-flat Major, K.361, sixth movement (Var. I): mm.21-40 ................15 Figure 1.10 Mozart, Serenade No.10 in B-flat Major, K.361, sixth movement (Var. V): mm.137-144...........16 Figure 1.11 Mozart, Serenade No.10 in B-flat Major, K.361, sixth movement (Var. VI): mm.153-176 .........17 Figure 1.12 Mozart, Serenade No.10 in B-flat Major, K.361, seventh movement: mm.1-17...........................18 Figure 1.13 Mozart, Serenade No.10 in B-flat Major, K.361, seventh movement: mm.124-146.....................18 Figure 2.1 Mozart, Serenade No.12 in C Minor, K.388, first movement: mm.1-22.......................................22 Figure 2.2 Mozart, Serenade No.12 in C Minor, K.388, first movement: mm.40-66.....................................23 Figure 2.3 Mozart, Serenade No.12 in C Minor, K.388, first movement: mm.217-231.................................24 Figure 2.4 Mozart, Serenade No.12 in C Minor, K.388, second movement: mm.9-16 ..................................24 Figure 2.5 Mozart, Serenade No.12 in C Minor, K.388, second movement: mm.28-46 ................................25 Figure 2.6 Mozart, Serenade No.12 in C Minor, K.388, third movement: mm.1-16......................................26 Figure 2.7 Mozart, Serenade No.12 in C Minor, K.388, third movement: mm.49-62....................................27 Figure 2.8 Mozart, Serenade No.12 in C Minor, K.388, third movement, mm.63-80....................................27 Figure 2.9 Mozart, Serenade No.12 in C Minor, K.388, fourth movement: mm.1-16....................................28 Figure 2.10 Mozart, Serenade No.12 in C Minor, K.388, fourth movement: mm.32-47..................................28 Figure 2.11 Mozart, Serenade No.12 in C Minor, K.388, fourth movement: mm.72-79..................................29 Figure 2.12 Mozart, Serenade No.12 in C Minor, K.388, fourth movement: mm.88-95..................................29 Figure 3.1 Beethoven, Octet in E-flat Major, Op.103, first movement: mm.1-9............................................34 Figure 3.2 Beethoven, Octet in E-flat Major, Op.103, second movement: mm.1-8 .......................................34 Figure 3.3 Beethoven, Octet in E-flat Major, Op.103, second movement: mm.24-49 ...................................35 Figure 3.4 Beethoven, Octet in E-flat Major, Op.103, second movement: mm.55-63 ...................................36 Figure 3.5 Beethoven, Octet in E-flat Major, Op.103, fourth movement: mm.65-74.....................................36 v Figure 4.1 Dvořák, Serenade in D Minor, Op.44, first movement: mm.1-18.................................................42 Figure 4.2 Dvořák, Serenade in D Minor, Op.44, first movement: mm.37-51...............................................43 Figure 4.3 Dvořák, Serenade in D Minor, Op.44, first movement: mm.66-73...............................................44 Figure 4.4 Dvořák, Serenade in D Minor, Op.44, second movement: mm.10-37 ..........................................44 Figure 4.5 Dvořák, Serenade in D Minor, Op.44, second movement: mm.157-176 ......................................45 Figure 4.6 Dvořák, Serenade in D Minor, Op.44, third movement: mm.9-15................................................46 Figure 4.7 Dvořák, Serenade in D Minor, Op.44, third movement: mm.52-67..............................................46 Figure 4.8 Dvořák, Serenade in D Minor, Op.44, fourth movement: mm.1-28..............................................47 Figure 4.9 Dvořák, Serenade in D Minor, Op.44, fourth movement: mm.219-226........................................48 Figure 5.1 Strauss, Serenade for Wind Instruments, Op.7: mm.1-8 ...............................................................53 Figure 5.2 Strauss, Serenade for Wind Instruments, Op.7: mm.81-90 ...........................................................54 Figure 6.1 Gounod, Petite Symphonie, Op.90, first movement: mm.1-8 .......................................................59 Figure 6.2 Gounod, Petite Symphonie, Op.90, first movement: mm.20-24....................................................59 Figure 6.3 Gounod, Petite Symphonie, Op.90, third movement: mm.44-68...................................................60
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