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Dissertation Prospectus ABSTRACT Title of Dissertation: THREE COMPOSER-CLARINETIST PARTNERSHIPS: MOZART-STADLER, WEBER-BÄRMANN, AND BRAHMS-MÜHLFELD Jihoon Chang, Doctor of Musical Arts, 2010 Directed by: Professor Michael Votta School of Music Collaborations between composers and performers have been responsible for some of the masterworks of Western music, and the repertoire is replete with works inspired by a particular performer‟s tone, technical prowess, musical artistry, or passionate expression. The clarinet repertoire is unique in that major composers from three periods in music history partnered with clarinetists and produced masterworks for the instrument. The relationships explored in this performance project are those of Wolfgang Amadeus Mozart (1756-1791) to Anton Paul Stadler (1753-1812), Carl Maria von Weber (1786-1826) to Heinrich Josef Bärmann (1784-1847), and Johannes Brahms (1833-1897) to Richard Mühlfeld (1856-1907). While all the three clarinetists were masters of the instrument, they differed in their approach to the instrument and in the style of their playing, and the composers‟ differing styles added to the variety of the resulting works. The operatic tendencies of Mozart and Weber were incorporated into their clarinet music, although Mozart‟s was more ensemble-oriented, while Weber‟s tended to a solo-with-accompaniment design. Stadler‟s virtuosity overcame the relatively primitive five-keyed instrument of his time, and Mozart must have had complete trust in his ability. He was also a “drinking buddy” and Masonic brother of Mozart. Both the intimacy of the relationship and Stadler‟s mastery are apparent in the Clarinet Quintet, KV 581 (1789), and Clarinet Concerto, KV 622 (1791). By Weber‟s and Bärmann‟s generation, the clarinet had almost developed into its modern form, and Bärmann‟s playing was likely influenced by early 19th century virtuosi such as Paganini. Though the Grand Duo Concertant in E-flat major, Op. 48, is ensemble-oriented, the rest of Weber‟s clarinet works are virtuosic showpieces. Even the Clarinet Quintet in B-flat major, Op. 34 treats the strings as accompaniment and emphasizes a virtuoso, soloistic role for the clarinet. In contrast to Bärmann, Mühlfeld‟s playing must have emphasized ethereal beauty over technical wizardry, and the clarinet works by Brahms, particularly his Clarinet Quintet in B minor, Op. 115, are masterworks of intense, lyrical expression. These three partnerships have established an important development of clarinet repertoire, and the tradition of such partnerships has been persevered today. THREE COMPOSER-CLARINETIST PARTNERSHIPS: MOZART-STADLER, WEBER-BÄRMANN, AND BRAHMS-MÜHLFELD by Jihoon Chang Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park in partial fulfillment of the requirements for the degree of Doctor of Musical Arts 2010 Advisory Committee: Dr. Michael Votta, Chair Dr. Shelley Davis Professor David Jones Professor Edward Walters Dr. Peter Beicken, Dean‟s Representative © Copyright by Jihoon Chang 2010 ACKNOWLEDGMENTS First of all, I thank God, the higher power who guides me always. Included in my first thanks are my wife and children. Their understanding and enduring my frequent absences from home were considerable factors to the imminent completion of this degree. Jiyoung, Samantha, and Ethan, I love you. The experience attained from working with my colleagues was invaluable. These consummate musicians practiced, rehearsed, and performed beautiful music, despite the inevitable schedule conflicts that enveloped us. In addition to the six musicians involved with this recital - Hsiang-Ling Hsiao, Sooyoung Jung, Sheng- Tsung Wang, Ae Young Sun, Dong-Wook Kim, and Yoon Nah Cho - my gratitude extends to those who performed my previous recitals; Eun Ae Baik-Kim, Daniel Sender, Glen McDaniel, Daniel Shomper, Hilary Dean, Alexis Tantau, AnnaMaria Mottola, and Gözde Yasar. A tremendous appreciation goes out to David Jones, my clarinet professor. Not only does he consider me a friend, but throughout the two years that I have studied with him, he has gone above and beyond the required hours, providing me and everyone else in his studio with the highest quality of education. Coaching times were also well spent with Rita Sloan, professor of collaborative piano. Her effectively articulated musical insight enlightened us to a much deeper understanding of the music at hand. I am also grateful to Professors Katherine Murdock, Timothy McReynolds, and Justina Lee for contributing their time and knowledge through coaching. I thank the members of my dissertation committee; Professors Jones, Edward Walters, Shelley Davis, Peter Beicken, and especially Michael Votta, the committee chair, for overseeing my work since the entrance of my doctoral candidacy. His enthusiasm for this dissertation gave me the courage to continue my studies in a positive way and his alacrity in responding to my various requests has saved me from numerous deadlines. Lastly, writing appropriate program notes to correspond to the music would not have been possible without the wonderful help from Dr. Votta, Director of the Symphonic Wind Ensemble, Dr. Davis, Professor of Musicology, Dr. Beicken, Professor of Foreign Languages and Literatures, and two personal friends of twenty years, Charles Willett and Irvin Peterson. I appreciate these gentlemen for carefully examining and correcting my grammar, syntax, and punctuation with such style. ii TABLE OF CONTENTS Recital 1 – May 9, 2009 Program………………………………………………………………………p. 1 Program Notes……………………………………………………………….p. 2 Recital 2 – December 9. 2009 Program………………………………………………………....……………p. 6 Program Notes………………………………………………….....…………p. 8 Recital 3 – April 10, 2010 Program……………………………………………………………...….…..p. 11 Program Notes……………………………………………………...…...….p. 12 CD Recordings of Recitals Recital 1 – Track Listings………………………………….……………….p. 17 Recital 2 – Track Listings…………………………...…………..………….p. 18 Recital 3 – Track Listings…………..……………...……………………….p. 19 Selective Bibliography………………………………………………………...…..p. 20 Selective Discography………………………….………...……………………….p. 21 Websites…………………………...……………………………………..…..……p. 22 iii Doctor of Musical Arts Recital Dissertation Recital 1 – Three Composer-Clarinetist Partnerships: Mozart-Stadler Jihoon Chang, Clarinet May 9, 2009 8:00 pm Chorus Rehearsal Room 2201, University of Maryland School of Music Teacher: David Jones “Kegelstatt” Trio in E-flat major, KV 498 (1786) WOLFGANG AMADEUS MOZART (1756-1791) I. Andante II. Menuett III. Allegretto “Parto, parto, ma tu ben mio” from La clemenza di Tito, KV 621 (1791) WOLFGANG AMADEUS MOZART (1756-1791) “Schon lacht der holde Frühling,” KV 580 (1789) WOLFGANG AMADEUS MOZART (1756-1791) Intermission Clarinet Quintet in A major, KV 581 (1789) WOLFGANG AMADEUS MOZART (1756-1791) I. Allegro II. Larghetto III. Menuetto IV. Allegretto con Variazioni 1 Program Notes for Recital 1 – May 9, 2009 This concert is the first in a series of three recitals exploring relationships between composers and clarinetists; tonight‟s recital focuses on Wolfgang Amadeus Mozart (1756-91) and Anton Paul Stadler (1753-1812). The name of the “Kegelstatt” (loosely translatable as “bowling alley”) Trio originates in the legend that Mozart conceived and completed it during a game of skittles or ninepins, known as “Kegeln” in German. It was not expressly written for Stadler but as a gift to the family of botanist Freiherr von Jacquin. The first performance took place at Jacquin‟s residence in 1786 with Stadler on clarinet, Franziska Jacquin (who was Mozart‟s student) on piano, and Mozart himself on viola. “Parto, parto, ma tu ben mio” from the opera La clemenza di Tito, KV 621, is an aria usually sung by a mezzo-soprano who assumes the role of Sesto. The clarinet is a duet instrument to the voice, with all of its obbligatos fundamentally unaltered from the original orchestral version into the piano reduction. Sesto is so in love with Vitellia that he reluctantly gives in to carrying out her conspiracy orders against Tito, the Roman Emperor. After Vitellia upbraids him for his indecision, Sesto gives this impassioned reply: Parto, parto, ma tu ben mio, I am leaving; but you, my dearest, meco ritorna in pace. must make peace with me again. Sarò qual più ti piace, I shall be whatever you like, quel che vorrai faro. whatever you wish I shall do. Guardami, e tutto obblio, Look at me, and I forget everything, e a vendicarti io volo. and I fly to avenge you. A questo sguardo solo da me si penserà. I shall think only of that glance. 2 Ah, qual poter, o Dei, Ah, what power, oh Gods, donaste alla beltà! did you give to beauty! Just as La Clemenza di Tito, KV 621, has the Köchel number immediately preceding the Clarinet Concerto, KV 622, “Schon lacht der holde Frühling,” KV 580, shares the adjacent Köchel catalogue numbers with the Clarinet Quintet, KV 581. Originally intended for Rosina in Giovanni Paisiello‟s Il barbiere di Siviglia before the projected performance of the opera was abandoned in 1789, this extant concert aria was written for and first sung by Josepha Hofer Weber, Mozart‟s youngest sister- in-law. The original scoring consists of pairs of clarinets, bassoons, and horns with strings. This version is condensed for a soprano, clarinet, and piano by Franz Beyer (b. 1922), a German musicologist who has restored and revised Mozart‟s music. Schon lacht der holde Frühling Already the lovely Spring auf blumenreichen Matten, laughs on flowery carpets wo sich Zephyre gatten where breezes consort together
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