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A Study of Selected Contemporary Compositions for Bassoon by Composers Margi Griebling-Haigh, Ellen Taaffe-Zwilich and Libby

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A Study of Selected Contemporary Compositions for Bassoon by Composers Margi Griebling-Haigh, Ellen Taaffe-Zwilich and Libby A STUDY OF SELECTED CONTEMPORARY COMPOSITIONS FOR BASSOON BY COMPOSERS MARGI GRIEBLING-HAIGH, ELLEN TAAFFE-ZWILICH AND LIBBY LARSEN by ELIZABETH ROSE PELLEGRINI JENNIFER L. MANN, COMMITTEE CHAIR DON FADER TIMOTHY FEENEY JONATHAN NOFFSINGER THOMAS ROBINSON THEODORE TROST A MANUSCRIPT Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the School of Music in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2018 Copyright Elizabeth Rose Pellegrini 2018 ALL RIGHTS RESERVED ABSTRACT In my final DMA recital, I performed Sortilège by Margi Griebling-Haigh (1960), Concerto for Bassoon and Orchestra by Ellen Taaffe-Zwilich (1939), and Concert Piece by Libby Larsen (1950). For each of these works, I give a brief biography of the composer and history of the piece. I contacted each of these composers and asked if they would provide further information on their compositional process that was not already available online. I received responses from Margie Griebling-Haigh and Libby Larsen and had to research information for Ellen Taaffe-Zwilich. I assess the contribution of these works to the body of bassoon literature, summarize the history of the literature, discuss the first compositions for bassoon by women, and discuss perceptions of the instrument today. I provide a brief analysis of these works to demonstrate how they contribute to the literature. I also offer comments from Nicolasa Kuster, one of the founders of the Meg Quigley Vivaldi Competition. Her thoughts as an expert in this field offer insight into why these works require our ardent advocacy. ii DEDICATION This manuscript is dedicated, first and foremost, to all the women over the years who have inspired me. My great grandmother, grandmothers, and mother showed me that being a woman gives you a special type of strength; they instilled that strength in my life’s breath and in my very character and being. My bassoon teachers, Nicolasa Kuster and Jenny Mann, showed me that being a woman in this field was possible. My sister never let me believe that I could be anything less than I wanted to be. I would also like to dedicate this to my dad and my partner, Wes. My dad is my favorite proof reader and critic and has supported me like no one else could through this process. Wes has been there through every tear and every hurdle of this manuscript writing process, reminding me that I can do anything I set my mind to and to keep believing in myself. I could not have done this document without the wonderful women who wrote the incredible music that inspired it. Thank you to Margi Griebling-Haigh, Ellen Taaffe-Zwilich, and Libby Larsen. Reading your stories, experiencing your music, and reflecting on how all of it comes together has been a beautiful experience that I will cherish always. Lastly, this is dedicated to every professor and colleague who has guided me through this process. Without you all, I would not be the bassoonist, academic, and person that I am today. Thank you for your support. Solo Deo Gloria. iii LIST OF ABBREVIATIONS AND SYMBOLS Ex. Example IDRS International Double Reed Society m. Measure mm. Measures MQVC Meg Quigley Vivaldi Competition iv ACKNOWLEDGEMENTS This document was produced because of all the strong women in my life. My great grandmother was one of my earliest examples. She left everything she knew in the 1940s to provide a better life for her children as a widowed mother. My Grandma Rose could only be described by anyone who knew her as a force to be reckoned with. Her example of strength, honesty and overall toughness have helped me through so many obstacles. My mother overcame so many academic and social obstacles in becoming who she is today and lived the example of being a survivor and an overcomer. Their examples are how I found the strength to get to this point: a DMA degree is no easy feat. However, they showed me through their lives that I could accomplish whatever I put my mind towards. My sister and my bassoon teacher/document advisor, Dr. Jenny Mann, encouraged me to reach my full potential and strive for the goal of completing this degree and this project. They encouraged me not to give up on myself even when I thought I could not achieve what was set out before me. Their help in this process was so immense and for that I am grateful. I would not be the writer I am today without the help of my father, Dr. Linda Cummins, and Dr. Don Fader. Their tireless efforts in my education and the honing of this skill have helped me create this manuscript. I could not have produced what I produced without their help. Last but not least, my Alabama family has provided a listening ear, understanding, and great company. Thanks for your support in this project. v CONTENTS ABSTRACT....................................................................................................................................ii DEDICATION……………………………………………………………………………………iii LIST OF ABBREVIATIONS AND SYMBOLS………………………………………...............iv ACKNOWLEDGEMENTS……………………………………………………………………….v LIST OF MUSICAL EXAMPLES………………………………………………………………vii INTRODUCTION AND PURPOSE……………………………………………………………...1 A BRIEF HISTORY OF THE BASSOON LITERATURE………………………………………3 GENESIS OF WOMEN WRITING FOR BASSOON AS A SOLO INSTRUMENT…………...5 THE ROLE OF THE BASSOON AND ITS DEVELOPMENT………….…..…………………..8 SORTILÈGE BY- MARGI GRIEBLING-HAIGH……………………………………………...10 CONCERTO FOR BASSOON AND ORCHESTRA BY- ELLEN TAAFFE-ZWILICH……...19 CONCERT PIECE BY- LIBBY LARSEN………………………………….…………………..26 THOUGHTS ON THESE WORKS FROM NICOLASA KUSTER…………….……….……..37 CONCLUSIONS………………………………………………………………………………...41 REFERENCES……….………………………….……………………………………………....43 APPENDIX 1: COMPOSER AND PUBLISHER PERMISSION………………………………45 APPENDIX 2: RECITAL PROGRAMS………………………………………………………...47 vi LIST OF MUSICAL EXAMPLES SORTILÈGE- MARGI GRIEBLING-HAIGH Ex. 1.1 mm. 6-11…………………………………………………………………………………15 Ex. 1.2 mm. 18-19………………………………………………………………………………..15 Ex. 1.3 mm. 108-117……………………………………………………………………………..16 Ex. 1.4 mm. 216-220……………………………………………………………………………..16 Ex. 1.5 mm 325-329……………………………………………………………………………...17 Ex. 1.6 mm.337-341……………….……………………………………………………………..17 Ex. 1.7 mm.391-394……………….……………………………………………………..............17 CONCERTO FOR BASSOON AND ORCHESTRA- ELLEN TAAFFE-ZWILICH Movement 1 Ex. 2.1 m. 48…...…………………………………..…………………………………………….22 Ex. 2.2 mm. 55-56……………………………….……………………………………………….22 Ex. 2.3 mm. 16-20………………………………………………………………………………..23 Ex. 2.4 mm. 135-139………..……………………………………………………………………23 Movement 2 Ex. 2.5 mm. 18-19………………………………………………………………………………..23 Ex. 2.6 mm. 222-224……………………………………………………………………………..24 Ex. 2.7 mm. 112-114……………………………………………………………………………..24 Ex. 2.8 m. 117 (final sub-bar)…...……………………………………………………………….25 vii CONCERT PIECE- LIBBY LARSEN Movement 1 Ex. 3.1 mm. 10-11………………………………………………………………………………..30 Ex. 3.2 mm. 18-19………………………………………………………………………………..31 Ex. 3.3 mm. 50-59………………………………………………………………………………..32 Ex. 3.4 mm. 78-86………………………………………………………………………………..33 Movement 2 Ex. 3.5 mm. 24-36………………………………………………………………………………..34 Movement 3 Ex. 3.6 mm. 52-57………………………………………………………………………………..35 Ex. 3.7 m. 11…………………………………………………………………………………….35 Ex. 3.8 mm. 20-22………………………………………………………………………………..36 viii INTRODUCTION AND PURPOSE Two years ago, upon reflecting what I would like to accomplish with my DMA, it occurred to my teacher and me that I had never performed a work that features bassoon written by a woman. This was a problem. In the past hundred years, the number of bassoon works written by women has grown exponentially, but outside of bassoonists who know and love these works or musicians insisting on diversity, these works have not become part of the great canon of works for the instrument (such as the Mozart bassoon concerto, Weber bassoon concerto, Hindemith sonata, and Concert Piece by Burrill Philips). For my manuscript, I will describe the repertoire I chose for my final recital. These works are all compositions for bassoon written by women composers. I chose these works in order to attract more attention to these unique pieces. My final recital program consists of the works Sortilège by Margi Griebling-Haigh (b. 1960), Concerto for Bassoon and Orchestra by Ellen Taaffe-Zwilich (b. 1939), and Concert Piece by Libby Larsen (b. 1950). I asked the composers to answer some questions regarding their works in order to gain further insight into their compositional processes. Those questions unanswered by the composers were answered through careful research. Responses to these questions will shed light on the composers’ compositional influences, what impact they feel they have made on the bassoon literature, and their perceptions regarding the instrument. 1 In addition, I asked for insight from one of the co-founders and leaders of the Meg Quigley Vivaldi Competition and symposium (hereafter MQVC), Nicolasa Kuster. Established in 2012, MQVC is a competition for young female bassoonists. The competition material not only features a Vivaldi concerto but also a work written by a woman. As an orchestral bassoonist, soloist, and teacher, Kuster’s insight offered another view of these pieces from the perspective of a woman performer. The questions posed to Nicolasa Kuster include why she has or has not chosen the pieces on my recital for the competition, her views on how these women composers have impacted the literature, and her feelings regarding performing music written by women. Her responses will further explore why these works are important to the literature. 2 A BRIEF HISTORY OF THE BASSOON
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