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Percussion Ensemble: Toccata by Carlos Chavez And 377 AN EXAMINATION OF PERFORMANCE ASPECTS OF TWO MAJOR WORKS FOR PERCUSSION ENSEMBLE: TOCCATA BY CARLOS CHAVEZ AND CANTATA PARA AMERICA MAGICA BY ALBERTO GINASTERA, A LECTURE RECITAL, TOGETHER WITH FOUR RECITALS OF SELECTED WORKS OF I. STRAVINSKY, R. VAUGHAN WILLIAMS, W. A. MOZART, V. PERSICHETTI, AND P. HINDEMITH DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS By Matthew J. George, B.M., M.M. Denton, Texas August, 1991 George, Matthew J., An Examination.of Performance Aspects of Two Major Works for Percussion Ensemble: Toccata by Carlos Chavez and Cantata para America Magica by Alberto Ginastera, A Lecture Recital, Together with Four Recitals of Selected Works of I. Stravinsky, R. Vaughan Williams, W. A. Mozart, V. Persichetti, and P. Hindemith. Doctor of Musical Arts (Conducting), August, 1991, 102 pp., 9 figures, 21 examples, bibliography, 47 titles. This study addresses the ways and means a conductor may approach two major twentieth century works written specifi- cally for percussion ensemble. Performance techniques and decisions on aesthetics made by the conductor in dealing with such items as timbre, balance, pitch levels, and pitch relationships are considered. An investigation is also made into the use of various types of percussion instruments, mallets, and stage placement, along with an examination of Chavez's and Ginastera's treatment of percussion instruments in their respective works. A comparative study of the two works within the context of other major twentieth century percussion ensemble pieces is also included. For centuries, chamber ensembles of winds or strings have been a standard part of concert programming. Per- cussion ensembles began to be recognized in the early part of this century as a viable performance medium, but not to the extent of the other groups. Part of the apparent lack of concert programming stems from conductors' lack of knowledge of the potential of percussion instruments and percussion music. This dissertation is an attempt to impart information in this area with the hope that more percussion ensemble music will be played and heard. Iup, Tape recordings of all performances submitted as dissertation requirements are on deposit in the University of North Texas Library iii ACKNOWLEDGEMENTS My sincerest gratitude goes out to my committee members: Dr. Robert Winslow, Mr. Keith Johnson, Mr. Henry Gibbons and Dr. Edward Glick for the numerous hours they spent editing my work and for their constant support. I am grateful to Dr. Malena Kuss and Mr. Thomas Canale for helping me get the project started. And I thank my family and friends for their .continual encouragement. This dissertation is dedicated in loving memory to Mr. Howard Dunn. iv TABLE OF CONTENTS Page ACKNOWLEDGEMENTS . .~~~~~~ .0 iv FIRST DISSERTATION RECITAL . vi ....0.9.a. SECOND DISSERTATION RECITAL . ....0..0vii THIRD DISSERTATION RECITAL . .viii FOURTH DISSERTATION RECITAL . 0. 0. 0. 0. 0. 0 .a .0 .0 .0 . 0 ix TABLE OF FIGURES TABLE OF EXAMPLES.. .... .0 .0 .0 .9.0 . 0. 9. 0. axi Chapter I. INTRODUCTION.................. .. ...... 1 II. THE TOCCATA AND CANTATA PARA AMERICA MAGICA IN THE CONTEXT OF OTHER MAJOR TWENTIETH CENTURY WORKS FOR PERCUSSION ENSEMBLE . .... 5 III. TOCCATA BY CARLOS CHAVEZ........ ............. 16 Chavez's Treatment of Percussion Instruments Stage Placement Conducting Problems and Considerations IV. CANTATA PARA AMERICA MAGICA BY ALBERTO GINASTERA ............... ....... 41 Ginastera's Treatment of Percussion Instruments Stage Placement Voice Treatment Conducting Problems and Considerations V. CONCLUSIONS.-...-................. ... 84 APPENDIX A...-.-.-... -.-....... -.......-... .. ..... 87 APPENDIX B........................................91 APPENDIX C...-.....-.-.....-...........-.... ......... 96 BIBLIOGRAPHY...-...-..... -...-.-.-... .. ........ 95 v GRADUATE RECITAL * Matthew J. George, Conductor Symphonies d'Instruments a vent (1920)... A . la memowe de Claude-Achiile DEBUSSY Stravinsky ....9..Igor Luellyn North, flute Wendy Lackey, bassoon .... Amy Michaels, flute Lance Bell, bassoon Tracy Cash, flute Jon Fisher, contra bassoon Mallory Patrick, alto flute Steve Korzekwa, horn Janet Murray, oboe Lisa Stevens, horn Jennifer Teisinger, oboe Jill Smith, horn Linda Watson-Rogers, English horn Elaine Williams, horn Valerie Julian, clarinet Michelle Kaminski, trumpet Wendy Walzel, clarinet Vern Sielert, trumpet Kimberly Cole, basset horn Bart O'Connor, trumpet Keith Winkle, trombone David Perkel, trombone Pat Dixon, trombone Karl Hovey, tuba Symphonies d'Instruments a vent ....... Igor Stravinsky .... (revised 1947 version) Luellyn North, flute Amy Michaels, flute Jill Smith, horn Tracy Kash, flute Lisa Stevens, horn Janet Murray, oboe Steve Korzekwa, horn Jennifer Teisinger, oboe Elaine Williams, horn Linda Watson-Rogers, English horn Michelle Kaminski, trumpet Valerie Julian. clarinet Vern Sielert, trumpet Kimberly Cole, clarinet Ban O'Connor, trumpet Wendy Walzel, clarinet Keith Winkle, trombone Wendy Lackey, bassoon David Perkel, trombone Lance Bell, bassoon Pat Dixon, trombone Jon Fisher. bassoon, contra bassoon Karl Hovey, tuba Presented in vartal fatltillnenr of/the requirements for the degree of Doctor Of Musical Arts vi UNIVERSITY OF NOR1I-4jj~ u Al presents A Doctoral Conducting Recital MATTHEW J. GEORGE, conductor Friday, July 27, 1990 8:00 p.m. Recital Hall Scherzo Alla Marcia (1954) Ralph Vaughan Williams from Symphony No. 8 in d-minor Serenade No. 11, K. 375 (1781) Wolfgang Amadeus Mozart Allegro Maestoso Menuetto Adagio Menuetto Allegro - INTERMISSION - Serenade No. 1, Op. 1 (1929) Vincent Persichetti I. Prelude II. Episode III. Song IV. Interlude V. Dance Geschwindmarsch by Beethoven (1946) Paul Hindemith Paraphrase from Symphonia Serena Presented in partial fi4Ullment of the requirements for the degree of Doctor of Musical Arts pvVTAt I"1El MUO NOR h GRADUATE RECITAL *Matthew J. George, Conductor Dr. Edward Baird, Narrator Histoire du Soldat (1918) Igor Stravinsky Raphael Sanders, Clarinet Linda Watson-Rogers, Bassoon Michelle Kaminki, Trumpet Steve Schoppert, Trombone Tom Canale, Percussion Chan Ho Yun, Violin Chris Pike, String Bass * Presented in partial fuLfdlment of the requirements for the degree of Doctor of Musical Arts viii MATTHEW J. GEORGE, conductor Monday, June 24, 1991 8:00 p.m. Recital Hall AN EXAMINATION OF PERFORMANCE ASPECTS OF TWO MAJOR WORKS FOR PERCUSSION ENSEMBLE: TOCCATA BY CARLOS CHAVEZ AND CANTATA PARt AMSRICA MAGIC BY ALBERTO GINASTERA Toccata (1942) Carlos Chdvez assisted by: Thomas Canale Steve McDonald Mike Primorac Marc M. White Robert Damm Michael Hernandez Cantata para Amtrica Mdgica (1960) Alberto Ginastera Teresa Gomez. soprano assisted bv- Al Gardner Michael E. McNicholas Michael Kingan Rick R. Rodriguez Michael A. Hernandez Thomas Canale Mark M. White Mike Primorac Mathew DeVeau Steve McDonald Brian Delaney Suzanne Key Walker Pettibone Robert Austin Robert Damm Steve Mitchell Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts ix TABLE OF FIGURES Figure Page 1. Instrumentation list for Toccata . ........ 9 2. First movement instrumentation for Toccata . 2 3. Third movement instrumentation for Toccata . 16 4. Second movement instrumentation for Toccata . 19 5. Stage set-up for Toccata . ......... ......... 22 6. Movement titles to Cantata para America Magica . 31 7. Graphic representation of Ginastera's sistrum . 43 8. Wooden-frame sistrum........... ........... 43 9. Suggested stage set-up for Cantata para America Macrica . ..... ..... 56 x TABLE OF EXAMPLES Example Page 1. Toccata Rehearsal mm. - 23 2. "1 first four bars of Rehearsal m. 25 3. "t first four bars of Rehearsal m.D 35 4. "f Rehearsal m. -( 35 5. " articulation marking 36 6. articulation marking 37 7. ", articulation marking 37 8. articulation marking 37 9. "1 Rehearsal m. 8 38 10. three bars before Rehearsal (!.3 - 3 39 ii. Rehearsal m. - 39 12. Rehearsal m. - 6 40 13. Cantata Para America Mdgica 3rd movement, mm. 99-101 54 14. "1 1st movement, m. 11 71 15. "t 1st movement, m. 9 72 16. "o 1st movement, mm. 10-11 72 17. "f 2nd movement, m. 14 73 18. "t 2nd movement, m. 32 74 19. "t 6th movement, mm. 89-90 77 20. "f 1st movement, mm. 68-69 79 21. "f 1st movement, m. 14 80 xi CHAPTER I INTRODUCTION TO THE STUDY A conductor's role in performing a musical work requires an in-depth knowledge of the score. This knowledge should include information on the work's place in history, its compositional and stylistic traits and analysis of its structure and form. Beyond these, the conductor must be able to bring forth the various timbres of the ensemble and place them in a fine balance and cohesiveness. In order to do this effectively, the conductor should have an adequate understanding of the various instruments' playing techniques, timbre, pitch limits, dynamic range, etc. Perhaps the most important tasks of the conductor are exploiting the ensemble's potential for giving a quality performance and to re-create as fully as possible the composer's musical intentions. Numerous conductors of established orchestras and bands have been successful in achieving these goals. Many chamber wind and string groups have also proved successful in this area. But what about other types of instrumental ensembles which have not been in existence for as long a time and consequently have not established a large core of repertoire? One such group is the percussion
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