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A Comparison of the Careers and Recordings of Stanley Drucker and Karl Leister

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A Comparison of the Careers and Recordings of Stanley Drucker and Karl Leister University of South Carolina Scholar Commons Theses and Dissertations Summer 2020 A Legacy Preserved: A Comparison of the Careers and Recordings of Stanley Drucker and Karl Leister Peter M. Geldrich Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Geldrich, P. M.(2020). A Legacy Preserved: A Comparison of the Careers and Recordings of Stanley Drucker and Karl Leister. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/ 5990 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. A LEGACY PRESERVED: A COMPARISON OF THE CAREERS AND RECORDINGS OF STANLEY DRUCKER AND KARL LEISTER by PETER M GELDRICH Bachelor of Music University of Maryland, 2003 Master of Music University of Florida, 2006 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Music Performance School of Music University of South Carolina 2020 Accepted by: Joseph Eller, Major Professor Rebecca Nagel, Committee Member Clifford Leaman, Committee Member Sarah Williams, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Peter M Geldrich, 2020 All Rights Reserved. ii Dedication To my father, Peter James Geldrich, who placed me on my musical path…and to my wife, Shannon Lowe, who has held my hand on the journey. iii Acknowledgements This document is a result of the inspiration and guidance that many people have provided me, and to whom I owe an enormous debt of gratitude. First and foremost is my father, Peter James Geldrich, who introduced me to the clarinet, gave me my first lessons, and cultivated a love of music that has been a defining characteristic of my life. The trajectory of my life is a result of your example and my desire to make you proud. It is my fondest hope that this document would have done so. To my wife, Dr. Shannon Lowe, this document would not have been possible without your tireless assistance and advocacy. You served as my editor, coach, cheerleader, champion, and so much more: there are no words for the gratitude that I have for your love, encouragement, patience and guidance. My early clarinet teachers, Robert Renino and Loren Kitt, introduced me to the amazing repertoire with which the clarinet is blessed, and instilled in my ear the beautiful sounds of which it is capable. I thank them for providing this endless font of inspiration. In a way, this document began more than ten years prior to its completion, when I first heard Karl Leister perform live at the University of Florida. Mitchell Estrin is responsible for introducing me to both instrumental titans that this document chronicles. He brought Karl Leister to the University of Florida while I was a graduate student there, and regaled me with stories of studying with, and performing beside, Stanley Drucker. He taught me much more than the clarinet; he demonstrated how to be a professional, in music and in life. I thank Professor Estrin for being a constant mentor and a good friend. iv When I began my doctoral degree, at the age of thirty-two, I had no expectations that I would discover potential in myself that had laid untapped. For that I will always be grateful to Joseph Eller, who taught me how to bring out the best in both my students and in my myself. I thank my other committee members, Dr. Leaman, Dr. Nagel, and Dr. Williams for their patience and expertise. I also would like to acknowledge the rest of the University of South Carolina School of Music faculty who have taught and guided me along the way: Dr. Hubbert, Dr. Rogers, Dr. Exner, Dr. Bush, Dr. Curry, Dr. Harley, Dr. Parker-Harley, Dr. Jenkins, and Dr. Weiss. I am in awe of the wealth of knowledge that subsist in the School of Music offices and classrooms. I will strive to live up to the fine example you each set forth. I offer a heartfelt “thank you” to all the clarinetists who responded to requests to be interviewed, or answered questions pertinent to this document: Mitchell Estrin, Karl Leister, Steven Cohen, Larry Guy, Michele Zukovsky, Brad Behn, and Bruce Marking. I want to extend my gratitude as well to all the anonymous clarinetists who took the time to respond to my “Definitive Clarinet Recordings Survey.” Finally, to Stanley Drucker and Karl Leister: you are both heroes in the world of music. I thank you for the enduring legacy of recordings that you both have left to the world, and for the inspiration your performances will provide for generations of musicians to come. v Abstract Today’s musician has an unprecedented amount of recordings through which they can influence their tonal concept, guide their phasing, and instill appropriate musical style. However, this abundance of recordings is both a treasure trove and a labyrinth in which one can lose their way without proper background on the recording artist. This context is necessary to determine the recordings in which a particular artist is most adept, and what stylistic lessons the artist best imparts. This document provides a comprehensive study of the careers and recordings of two of the most important clarinetists of the twentieth-century; Stanley Drucker and Karl Leister. The author’s intent is to inform the modern clarinetist of the relative strength of each of artist’s unique stylistic approach so that the immense legacy of recordings they have bestowed upon the musical world is granted this context. As such, this document provides a biography of each artist, a description of their particular instrumental setup, and an analysis of their most important recordings, alongside other noteworthy interpretations. The author’s close examination of these distinctive artists’ performance styles will hopefully provide student and professional musicians alike assistance in finding and expressing their unique musical voice. vi Table of Contents Dedication .......................................................................................................................... iii Acknowledgements ............................................................................................................ iv Abstract .............................................................................................................................. vi List of Figures .................................................................................................................... ix Chapter 1 Introduction .........................................................................................................1 Part I Biographies and Instrumental Equipment .........................................................17 Chapter 2 Stanley Drucker Biography ...............................................................................18 Chapter 3 Karl Leister Biography ......................................................................................50 Chapter 4 Instrumental Equipment of Stanley Drucker and Karl Leister ..........................77 Part II Select Recordings of Stanley Drucker ...............................................................90 Chapter 5 Bartok Contrasts ................................................................................................91 Chapter 6 Nielsen Clarinet Concerto ...............................................................................106 Chapter 7 Corigliano Clarinet Concerto ..........................................................................123 Chapter 8 Copland Clarinet Concerto ..............................................................................137 Part III Select Recordings of Karl Leister ...................................................................157 Chapter 9 Weber Clarinet Concerto No. 1 .......................................................................158 Chapter 10 Mozart Clarinet Concerto ..............................................................................179 Chapter 11 Mozart Clarinet Quintet ................................................................................211 Chapter 12 Brahms Clarinet Quintet................................................................................234 vii Chapter 13 Conclusions ...................................................................................................259 Works Cited .....................................................................................................................267 Discography .....................................................................................................................276 Appendix A: Definitive Clarinet Recordings Survey ......................................................283 Appendix B: Bartok Contrasts Timing Analysis .............................................................293 Appendix C: Permissions to Reprint Musical Examples .................................................297 viii List of Figures Figure 6.1 Nielsen concerto excerpt (Più allegro) rehearsal 9 to 11 ...............................115 Figure 6.2 Nielsen concerto excerpt (Second cadenza, 9 measures after 32) ..................116 Figure 8.1 Excerpt from Cadenza (23 measures before printed measure 120 “Rather fast”) .................................................................................146 Figure 8.2 Fingerings correspond to Drucker’s chosen altissimo fingerings for the above excerpt (measures 101,109,
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