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The Evolution of the Clarinet and Its Effect on Compositions Written for the Instrument
Columbus State University CSU ePress Theses and Dissertations Student Publications 5-2016 The Evolution of the Clarinet and Its Effect on Compositions Written for the Instrument Victoria A. Hargrove Follow this and additional works at: https://csuepress.columbusstate.edu/theses_dissertations Part of the Music Commons Recommended Citation Hargrove, Victoria A., "The Evolution of the Clarinet and Its Effect on Compositions Written for the Instrument" (2016). Theses and Dissertations. 236. https://csuepress.columbusstate.edu/theses_dissertations/236 This Thesis is brought to you for free and open access by the Student Publications at CSU ePress. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of CSU ePress. THE EVOLUTION OF THE CLARINET AND ITS EFFECT ON COMPOSITIONS WRITTEN FOR THE INSTRUMENT Victoria A. Hargrove COLUMBUS STATE UNIVERSITY THE EVOLUTION OF THE CLARINET AND ITS EFFECT ON COMPOSITIONS WRITTEN FOR THE INSTRUMENT A THESIS SUBMITTED TO HONORS COLLEGE IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE HONORS IN THE DEGREE OF BACHELOR OF MUSIC SCHWOB SCHOOL OF MUSIC COLLEGE OF THE ARTS BY VICTORIA A. HARGROVE THE EVOLUTION OF THE CLARINET AND ITS EFFECT ON COMPOSITIONS WRITTEN FOR THE INSTRUMENT By Victoria A. Hargrove A Thesis Submitted to the HONORS COLLEGE In Partial Fulfillment of the Requirements for Honors in the Degree of BACHELOR OF MUSIC PERFORMANCE COLLEGE OF THE ARTS Thesis Advisor Date ^ It, Committee Member U/oCWV arcJc\jL uu? t Date Dr. Susan Tomkiewicz A Honors College Dean ABSTRACT The purpose of this lecture recital was to reflect upon the rapid mechanical progression of the clarinet, a fairly new instrument to the musical world and how these quick changes effected the way composers were writing music for the instrument. -
Acclaimed Drummer-Composer John
Bio information: THE CLAUDIA QUINTET Title: SUPER PETITE (Cuneiform Rune 427) Format: CD / DIGITAL RELEASE DATE: JUNE 24, 2016 Cuneiform promotion dept: (301) 589-8894 / fax (301) 589-1819 email: joyce [-at-] cuneiformrecords.com (Press & world radio); radio [-at-] cuneiformrecords.com (North American & world radio) www.cuneiformrecords.com FILE UNDER: JAZZ / POST-JAZZ Acclaimed Drummer-Composer John Hollenbeck Pens Rich, Complex Tunes for an Era of Short Attention Spans on The Claudia Quintet's 8th album – Super Petite – a Potent Package that Condenses Virtuoso Playing and a Wealth of Ideas into Ten Compact Songs Short doesn’t necessarily mean simple. Drummer-composer John Hollenbeck acrobatically explores the dichotomy between brevity and complexity on Super Petite, the eighth release by the critically acclaimed, proudly eccentric Claudia Quintet. The oxymoronic title of the band’s newest album on Cuneiform Records captures the essence of its ten new compositions, which pack all of the wit and virtuosity that listeners have come to expect from the Claudia Quintet into the time frame of radio-friendly pop songs. As always, Hollenbeck’s uncategorizable music – which bridges the worlds of modern jazz and new music in surprising and inventive ways - is realized by Claudia’s longstanding line-up: clarinetist/tenor saxophonist Chris Speed, vibraphonist Matt Moran, bassist Drew Gress, and accordionist Red Wierenga. Over the course of 19 years and 8 albums, the band has forged an astounding chemistry and become expert at juggling mind-boggling dexterity with inviting emotion and spirit. Like the band’s name, the title Super Petite originated as an affectionate nickname for one of the band’s fans. -
Heralding a New Enlightenment
Peculiarities of Clarinet Concertos Form-Building in the Second Half of the 20th Century and the Beginning of the 21st Century Marina Chernaya and Yu Zhao* Abstract: The article deals with clarinet concertos composed in the 20th– 21st centuries. Many different works have been created, either in one or few parts; the longest concert that is mentioned has seven parts (by K. Meyer, 2000). Most of the concertos have 3 parts and the fast-slowly-fast kind of structure connected with the Italian overture; sometimes, the scheme has variants. Our question is: How does the concerto genre function during this period? To answer, we had to search many musical compositions. Sometimes the clarinet is accompanied by orchestra, other times it is surrounded by an ensemble of instruments. More than 100 concertos were found and analyzed. Examples of such concertos were written by C. Nielsen, P. Boulez, J. Adams, C. Debussy, M. Arnold, A. Copland, P. Hindemith, I. Stravinsky, S. Vassilenko, and the attention in the article is focused on them. A special complete analysis is made as regards “Domaines” for clarinet and 21 instruments divided in 6 groups, by Pierre Boulez that had a great role for the concert routine, based on the “aleatoric” principle. The conclusions underline the significant development of the clarinet concerto genre in the 20th -21st centuries, the high diversity of the compositions’ structures, the considerable expressiveness and technicality together with the soloist’s part in the expressive concertizing (as a rule). Further studies suggest the analysis of stylistic and structural peculiarities of the found compositions that are apparently to win their popularity with performers and listeners. -
Johnny O'neal
OCTOBER 2017—ISSUE 186 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM BOBDOROUGH from bebop to schoolhouse VOCALS ISSUE JOHNNY JEN RUTH BETTY O’NEAL SHYU PRICE ROCHÉ Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East OCTOBER 2017—ISSUE 186 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 NEw York@Night 4 Laurence Donohue-Greene: Interview : JOHNNY O’NEAL 6 by alex henderson [email protected] Andrey Henkin: [email protected] Artist Feature : JEN SHYU 7 by suzanne lorge General Inquiries: [email protected] ON The Cover : BOB DOROUGH 8 by marilyn lester Advertising: [email protected] Encore : ruth price by andy vélez Calendar: 10 [email protected] VOXNews: Lest We Forget : betty rochÉ 10 by ori dagan [email protected] LAbel Spotlight : southport by alex henderson US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or VOXNEwS 11 by suzanne lorge money order to the address above or email [email protected] obituaries Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Fred Bouchard, Festival Report Stuart Broomer, Robert Bush, 13 Thomas Conrad, Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, special feature 14 by andrey henkin Anders Griffen, Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, CD ReviewS 16 Suzanne Lorge, Mark Keresman, Marc Medwin, Russ Musto, John Pietaro, Joel Roberts, Miscellany 41 John Sharpe, Elliott Simon, Andrew Vélez, Scott Yanow Event Calendar Contributing Writers 42 Brian Charette, Ori Dagan, George Kanzler, Jim Motavalli “Think before you speak.” It’s something we teach to our children early on, a most basic lesson for living in a society. -
Sonata for Clarinet Choir Donald S
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1962 Sonata for Clarinet Choir Donald S. Lewellen Eastern Illinois University Recommended Citation Lewellen, Donald S., "Sonata for Clarinet Choir" (1962). Masters Theses. 4371. https://thekeep.eiu.edu/theses/4371 This Thesis is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. -SONATA POR CLARINET CHOIR A PAPER PRESENTED TO THE FACULTY OF TILE DEPARTMENT OF MUSIC EASTERN ILLINOIS UNIVERSITY IN PARTIAL FULFILLMENT OF TIIB REQUIREMENTS FOR IBE DEGREE MASTER OF SCIENCE IN EDUCATION DONALDS. LEWELLEN '""'."'.···-,-·. JULY, 1962' TABLE OF CONTENTS :le Page • • • • • • • . • .. • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • i ile of Contents . .. ii iface ••.•....•...•........••....... •· ...•......•.•...• iii ::tion I ! Orchestra and Band ································· 1 lrinet Choir New Concept of Sound •••••••••••••••••• 2 3.rinet Choir Medium of Musical Expression . .. 2 arinet Choir Instrumentation . 3 ction II nata for Clarinet Choir - Analysis . .. 6 mmary • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • 8 bliography ••••.•••••••••••••••••••••••.•••••••••••••• 10 PREFACE The available literature for clarinet choir is quite limited, and much of this literature is an arrangement of orchestral music. -
David Dzubay
all water has a perfect memory DAVID DZUBAY david Dzubay Disc A 69:46 Disc B 58:29 String Quartet No. 1 “Astral” 1. Double Black Diamond 10:08 common sense COMPOSERS’ COLLECTIVE SPARK 1. Voyage 5:57 Indiana University New Music Ensemble; 2. Starry Night 4:07 David Dzubay, conductor 3. S.E.T.I. 1:50 4. Wintu Dream Song 6:23 Kukulkan II 5. Supernova 3:39 2. Kukulkan’s Ascent (El Castillo March equinox) 2:37 all water has a perfect memory Orion String Quartet 3. Water Run (Profane Well) 3:31 6. all water has a perfect memory 15:12 4. Celestial Determination (El Caracol) 1:56 Voices of Change 5. Processional-Offering (Sacred Well) 4:51 6. Quetzalcoatl’s Sacrifice (The Great Ball Court) 4:13 7. Producing For A While 8:21 7. Kukulkan’s Descent (El Castillo September equinox) 2:13 Voices of Change Indiana University New Music Ensemble 8. Delicious Silence 7:11 Chamber Concerto for Trumpet, Violin & Ensemble Miranda Cuckson, violin 8. Déjà vu (passacaglia sospeso) 13:20 9. Rapprochement (intermezzo) 9:08 9. Lament 9:28 10. Détente(s) (scherzo) 6:31 Barkada Quartet Indiana University New Music Ensemble; 10. Volando 4:27 David Dzubay, conductor Zephyr Simin Ganatra, violin John Rommel, trumpet/flugelhorn/piccolo trumpet 11. Lullaby 3:09 Emily Levin, harp innova 011 © David Dzubay. All Rights Reserved, 2019. innova 024 innova® Recordings is the label of the American Composers Forum. innova.mu pronovamusic.com all water has a perfect memory solo, chamber and ensemble music by David Dzubay Welcome to this survey of some of my music from the narrative-based music remains somewhat abstract and early 21st century! The first disc assembles performanc- personal; the composer and audience may have very es from a variety of chamber ensembles and soloists, different interpretations of the same music because so spanning a period from 2003-2015. -
The Inspiration Behind Compositions for Clarinetist Frederick Thurston
THE INSPIRATION BEHIND COMPOSITIONS FOR CLARINETIST FREDERICK THURSTON Aileen Marie Razey, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 201 8 APPROVED: Kimberly Cole Luevano, Major Professor Warren Henry, Committee Member John Scott, Committee Member John Holt, Chair of the Division of Instrumental Studies Benjamin Brand, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Razey, Aileen Marie. The Inspiration behind Compositions for Clarinetist Frederick Thurston. Doctor of Musical Arts (Performance), August 2018, 86 pp., references, 51 titles. Frederick Thurston was a prominent British clarinet performer and teacher in the first half of the 20th century. Due to the brevity of his life and the impact of two world wars, Thurston’s legacy is often overlooked among clarinetists in the United States. Thurston’s playing inspired 19 composers to write 22 solo and chamber works for him, none of which he personally commissioned. The purpose of this document is to provide a comprehensive biography of Thurston’s career as clarinet performer and teacher with a complete bibliography of compositions written for him. With biographical knowledge and access to the few extant recordings of Thurston’s playing, clarinetists may gain a fuller understanding of Thurston’s ideal clarinet sound and musical ideas. These resources are necessary in order to recognize the qualities about his playing that inspired composers to write for him and to perform these works with the composers’ inspiration in mind. Despite the vast list of works written for and dedicated to Thurston, clarinet players in the United States are not familiar with many of these works, and available resources do not include a complete listing. -
The Publication History of Spohr's Clarinet Concertos
THE PUBLICATION HISTORY OF SPOHR'S CLARINET CONCERTOS by Keith Warsop N DISCUSSING the editions used for the recording by French clarinettist paul Meyer of Spohr's four concertos for the instrument on the Alpha label (released as a two-CD set, ALPHA 605, with the orchestre de Chambre de Lausanne), reviewers in the November 2012 issues of the Gramophone and,Internotional Record Review magazines came to some slightly misleading conclusions about this subject so that it has become important to clarify matters. Carl Rosman, writing in 1RR, ,authentic, said: "Meyer has also taken steps towards a more text fbr these concertos. While the clarinet works of Mozart, Brahms and Weber have seen various Urtext editions over the years, Spohr's concertos circulate only in piano reductions from the late nineteenth century ... Meyer has prepared his own editions from the best available sources (the manuscripts of all but No.4 have been lost but there are contemporary manuscript copies of the others held at the Louis Spohr Society in Kassel); this has certainly giu., him lreater freedom in the area of articulation, and also allowed him to adopt some more-flowing temios than the late nineteenth-century editions specify.', In the Gramophone, Nalen Anthoni stated: "Hermstedt demanded exclusive rights and, presumably, kept the autographs. Only that of No.4 was found, in 1960. The other works have been put together from manuscript copies. Paul Meyer seems largely attuned to the solo parts edited by stanley Drucker, the one-time principal ciarinettist of the New york philharmonic. Michael Collins [on the Hyperion label] is of similar mind, though both musicians add their own individual touches phrasing to and articulation. -
Wind Orchestra
caltech-occidental wind orchestra The Caltech - Occidental Wind Orchestra is comprised of select performers of wind and percussion instruments drawn from the undergraduate and graduate student population at Caltech and Occidental College, plus faculty, alumni, staff and community members from Caltech, and the NASA Jet Propulsion Laboratories (JPL). Currently numbering at approximately 80 musicians, this group rehearses once per week and performs three programs of repertoire per academic year. The repertoire is selected from the finest traditional and contemporary music from around the world. The ensemble (formerly known as the Concert Band) earned great acclaim under the leadership of William Bing, who directed the group for over 40 years. Drawing upon the tremendous talent base of Los Angeles, the group has featured such guest artists as Allen Vizzuti, David Shifrin, Eddie Daniels, Jim Self, Wayne Bergeron and Frank Ticheli. The group has taken on notable recording projects, and tours to such locations as Carnegie Hall and China. Appointed in 2016 as conductor of the ensemble and Director of Performing and Visual Arts, Glenn Price is building on the heritage, tradition and high standards established by Bill Bing. DR. GLENN D. PRICE, CONDUCTOR CALTECH-OCCIDENTAL Dr. Glenn D. Price has earned an international reputation as a leading conductor and educator through his experience conducting student, community and professional symphony orchestras wind orchestra and wind ensembles in over 30 countries. He has conducted many renowned soloists, including Evelyn Glennie, Christian Lindberg, Ney Rosauro, Jens Lindemann, Alain Trudel, Roger Webster, Kenneth Tse, Adam Frey, Simone Rebello, David Campbell, John Marcellus and Michael Burritt. -
Cameron Burgess - Clarinet BBM Youth Support Report - June 2013
Cameron Burgess - Clarinet BBM Youth Support Report - June 2013 My trip to the UK was an incredibly rewarding and exciting experience. In my lessons I gained a wealth of information and ideas on how to perform British clarinet repertoire, and many different approaches and concepts to improve my technique, which I have found invaluable in my development as a musician. I was also able to collect a vast amount of data on Frederick Thurston, who is the focal point of my honours thesis. Much of this information I probably would not have discovered had it not been for my trip to the UK. I was also fortunate enough to attend numerous concerts by the London Symphony Orchestra, Halle Orchestra, London Chamber Orchestra and Southbank Sinfonia, as well as visit London’s many galleries and museums. After arriving in the UK I traveled from Manchester to London for my first lesson, which was with the Principal of the Royal College of Music and renowned Mozart scholar, Professor Colin Lawson. Much of my time in this lesson was devoted to Mozart’s Clarinet Concerto. I had been fortunate enough to attend a master class given by Professor Lawson at the Sydney Conservatorium in 2010 and had gained some ideas on how to interpret the work, however this was expanded on greatly, and my ideas and concepts on how to perform the work completely changed. As well as this we spent some time discussing my thesis topic, how it could potentially be improved and what new ideas I could also include. Professor Lawson also very generously provided me with some incredibly useful literature on Thurston, published for his centenary celebration, which is no longer in print. -
Booklet 125X125.Indd
1 2 3 CONTENTS A RECORDED HISTORY Philip Stuart 7 REMINISCENCES BY LADY MARRINER 18 A FEW WORDS FROM PLAYERS 21 HISTORY OF THE ACADEMY OF SAINT MARTIN IN THE FIELDS Susie Harries (née Marriner) 36 CD INFORMATION 44 INDEX 154 This Edition P 2020 Decca Music Group Limited Curation: Philip Stuart Project Management: Raymond McGill & Edward Weston Digital mastering: Ben Wiseman (Broadlake Studios) TH 60 ANNIVERSARY EDITION Design & Artwork by Paul Chessell Special thanks to Lady Marriner, Joshua Bell, Marilyn Taylor, Andrew McGee, Graham Sheen, Kenneth Sillito, Naomi Le Fleming, Tristan Fry, Robert Smissen, Lynda Houghton, Tim Brown, Philip Stuart, Susie Harries, Alan Watt, Ellie Dragonetti, Gary Pietronave (EMI Archive, Hayes) 4 5 A RECORDED HISTORY Philip Stuart It all started with L’Oiseau-Lyre - a boutique record label run by a Paris-based Australian heiress who paid the players in cash at the end of the session. The debut LP of Italianate concerti grossi had a monochrome photograph of a church porch on the cover and the modest title “A Recital”. Humble beginnings indeed, but in 1962 “The Gramophone” devoted a full page to an enthusiastic review, concluding that it was played “with more sense of style than all the chamber orchestras in Europe put together”. Even so, it was more than a year before the sequel, “A Second Recital”, appeared. Two more such concert programmes ensued [all four are on CDs 1-2] but by then the Academy had been taken up by another label with a shift in policy more attuned to record collectors than to concert goers. -
Download the Concert Programme (PDF)
London Symphony Orchestra Living Music Thursday 18 May 2017 7.30pm Barbican Hall Vaughan Williams Five Variants of Dives and Lazarus Brahms Double Concerto INTERVAL Holst The Planets – Suite Sir Mark Elder conductor Roman Simovic violin Tim Hugh cello Ladies of the London Symphony Chorus London’s Symphony Orchestra Simon Halsey chorus director Concert finishes approx 9.45pm Supported by Baker McKenzie 2 Welcome 18 May 2017 Welcome Living Music Kathryn McDowell In Brief Welcome to tonight’s LSO concert at the Barbican. BMW LSO OPEN AIR CLASSICS 2017 This evening we are joined by Sir Mark Elder for the second of two concerts this season, as he conducts The London Symphony Orchestra, in partnership with a programme of Vaughan Williams, Brahms and Holst. BMW and conducted by Valery Gergiev, performs an all-Rachmaninov programme in London’s Trafalgar It is always a great pleasure to see the musicians Square this Sunday 21 May, the sixth concert in of the LSO appear as soloists with the Orchestra. the Orchestra’s annual BMW LSO Open Air Classics Tonight, after Vaughan Williams’ Five Variants of series, free and open to all. Dives and Lazarus, the LSO’s Leader Roman Simovic and Principal Cello Tim Hugh take centre stage for lso.co.uk/openair Brahms’ Double Concerto. We conclude the concert with Holst’s much-loved LSO WIND ENSEMBLE ON LSO LIVE The Planets, for which we welcome the London Symphony Chorus and Choral Director Simon Halsey. The new recording of Mozart’s Serenade No 10 The LSO premiered the complete suite of The Planets for Wind Instruments (‘Gran Partita’) by the LSO Wind in 1920, and we are thrilled that the 2002 recording Ensemble is now available on LSO Live.