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A Contextual Analysis of Solo Bass Clarinet Music by Irish Composers

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A Contextual Analysis of Solo Bass Clarinet Music by Irish Composers Technological University Dublin ARROW@TU Dublin Research Theses Conservatory of Music and Drama 2017-09-20 A Contextual Analysis of Solo Bass Clarinet Music by Irish Composers Marcella Barz [email protected] Follow this and additional works at: https://arrow.tudublin.ie/aaconmusthe Part of the Music Commons Recommended Citation Barz, M. (2017) A Contextual Analysis of Solo Bass Clarinet Music by Irish Composers, Research Thesis, Technological University Dublin. This Theses, Masters is brought to you for free and open access by the Conservatory of Music and Drama at ARROW@TU Dublin. It has been accepted for inclusion in Research Theses by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License A Contextual Analysis of Solo Bass Clarinet Music by Irish Composers Submitted in partial fulfilment of the requirements for the Master of Music degree Dublin Institute of Technology Conservatory of Music and Drama Supervisor: Dr Paul McNulty September 2017 Marcella Barz DECLARATION I hereby certify that this material, which I now submit for assessment on the programme of study leading to the award of Master’s Degree (MMus) is entirely my own work and has not been submitted for assessment for any academic purpose other than in partial fulfilment for that stated above. Signed: (Candidate) Date: 20 September 2017 ii TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES ___________________________________________ vi LIST OF FIGURES ____________________________________________________ vii ACKNOWLEDGEMENTS _______________________________________________ viii ABSTRACT __________________________________________________________ ix INTRODUCTION ______________________________________________________ x CHAPTER ONE: HISTORICAL OVERVIEW OF THE BASS CLARINET ______________ 1 1.1 An Introduction to the Bass Clarinet ____________________________ 1 1.2 A Brief Overview of the Structural Design of the Bass Clarinet ________ 1 1.2.1 Early Bass Clarinet Designs ____________________________ 2 1.2.2 Modern Bass Clarinets ________________________________ 5 1.3 Solo Bass Clarinet Performances and Performers (1794–1955) _______ 5 1.4 Influential Bass Clarinet Soloists (From 1955) _____________________ 9 1.4.1 Josef Horák _______________________________________ 10 1.4.2 Harry Sparnaay ____________________________________ 12 1.4.3 Henri Bok _________________________________________ 14 1.4.4 Eric Dolphy ________________________________________ 15 1.5 Conclusion ________________________________________________ 16 CHAPTER TWO: STYLISTIC INFLUENCES AND CHARACTERISTICS OF SOLO BASS CLARINET MUSIC ___________________________________________________ 17 2.1 Introduction ______________________________________________ 17 2.1.1 Aleatoric Music ____________________________________ 18 2.1.2 Minimalism _______________________________________ 22 2.1.3 Electronic Music ____________________________________ 25 2.1.4 Jazz Music ________________________________________ 29 2.2 Extended Techniques _______________________________________ 30 2.2.1 Slap Tonguing ______________________________________ 31 2.2.2 Flutter Tonguing ___________________________________ 32 2.2.3 Multiphonic Techniques _____________________________ 33 iii 2.2.4 Colour Fingerings, Quarter Tones, and Timbral Trills _______ 35 2.2.5 Glissandi and Vibrato ________________________________ 36 2.2.6 Breath Sounds and Key Slaps _________________________ 37 2.3 Conclusion ________________________________________________ 38 CHAPTER THREE: THE EMERGENCE OF SOLO BASS CLARINET SPECIALIZATION IN IRELAND __________________________________________________________ 39 3.1 The Bass Clarinet in Irish Chamber Music _______________________ 39 3.2 Concorde, Harry Sparnaay, and Paul Roe ________________________ 41 3.2.1 Paul Roe and Contemporary Music: New Directions _______ 41 3.2.2 Harry Sparnaay in Ireland ____________________________ 43 3.2.3 Paul Roe and Concorde ______________________________ 44 3.3 Conclusion _______________________________________________ 45 CHAPTER FOUR: SOLO BASS CLARINET MUSIC IN IRELAND __________________ 46 4.1 Overview of Irish Solo Bass Clarinet Music ______________________ 46 4.2 Paul Roe’s Approach to Contemporary Music ____________________ 47 4.2.1 Collaboration ______________________________________ 47 4.2.2 Stylistic Approach __________________________________ 48 4.3 A Cross-survey of Works with Musically Explorative Elements _______ 49 4.3.1 O Breath __________________________________________ 50 4.3.2 Continuum ________________________________________ 52 4.3.3 Monster __________________________________________ 53 4.3.4 Composure ________________________________________ 57 4.3.5 Periastron _________________________________________ 60 4.4 Detailed Analyses __________________________________________ 62 4.4.1 Rattle ____________________________________________ 62 4.4.2 Stung ____________________________________________ 68 4.5 Conclusion _______________________________________________ 75 CONCLUSION _____________________________________________________ 77 iv BIBLIOGRAPHY _____________________________________________________ 79 Books _______________________________________________________ 79 Dissertations _________________________________________________ 79 Journal Articles _______________________________________________ 80 Musical Scores _______________________________________________ 81 Online Articles _______________________________________________ 82 Newspaper Articles ____________________________________________ 82 Recordings __________________________________________________ 82 Websites ___________________________________________________ 82 APPENDICES _____________________________________________________ 84 Appendix A: Email Interview with Paul Roe, 2 January 2017 ____________ 85 Appendix B: Interview with Paul Roe, 3 August 2017 _________________ 90 Appendix C: Email Interview with Paul Roe, 23 August 2017 __________ 109 Appendix D: Email Interview with Frank Lyons, 28 August 2017 ________ 112 Appendix E: List of Solo Bass Clarinet Compositions by Irish Composers _ 113 v LIST OF MUSICAL EXAMPLES CHAPTER TWO Example 2.1: Feldman, Projection 1 ______________________________ 20 Example 2.2: Cardew, Treatise, page 66 ___________________________ 21 Example 2.3: Brun, Perpetual Flowing _____________________________ 21 Example 2.4: Logothetis, Fusion _________________________________ 22 Example 2.5: Young, Death Chant ________________________________ 24 Example 2.6: Glass, 1+1 ________________________________________ 24 Example 2.7: Siegel, Jackdaw, 28–49 _____________________________ 25 Example 2.8: Bruynèl, Intra, 1’15”–1’45” __________________________ 28 Example 2.9: Grainger, In Dahomey, 16–17 ________________________ 29 Example 2.10: Hobbs, Why Not?, page 1, line 1 _____________________ 30 Example 2.11: Hobbs, Why Not?, page 3, lines 3–4 __________________ 30 Example 2.12: Lange, Press Release, 16–22 ________________________ 32 Example 2.13: Raxach, Chimaera, 8’15” ___________________________ 34 Example 2.14: Melläs, Riflessioni, 55–60 ___________________________ 35 Example 2.15: Yun, Monolog ____________________________________ 36 Example 2.16: Kucera, Duodramma ______________________________ 36 Example 2.17: Kagel, Schattenklänge _____________________________ 37 CHAPTER FOUR Example 4.1: Holohan, O Breath _________________________________ 51 Example 4.2: Holohan, O Breath, inscription at the bottom of the score _ 51 Example 4.3: Holohan, O Breath, multiphonics, page 2 _______________ 52 Example 4.4: Canning, Continuum, 5’24” __________________________ 53 Example 4.5: Bennett, Monster, 4’30” ____________________________ 54 Example 4.6: Bennett, Monster, 2’45” ____________________________ 55 Example 4.7: Bennett, Monster, 8’00” ____________________________ 56 Example 4.8: Bremner, Composure _______________________________ 59 Example 4.9: Mulvey, Periastron, 0’21” ___________________________ 60 vi Example 4.10: Mulvey, Periastron, 2’03” __________________________ 61 Example 4.11: Mulvey, Periastron, 2’54” __________________________ 61 Example 4.12: Feery, Rattle, 1–2 _________________________________ 63 Example 4.13: Feery, Rattle, 5–6 _________________________________ 64 Example 4.14: Feery, Rattle, 15–16 _______________________________ 64 Example 4.15: Feery, Rattle, 21–22 _______________________________ 65 Example 4.16: Feery, Rattle, 48–49 _______________________________ 65 Example 4.17: Feery, Rattle, 50–54 _______________________________ 66 Example 4.18: Feery, Rattle, 68–71 _______________________________ 67 Example 4.19: Feery, Rattle, 111–113 _____________________________ 68 Example 4.20: Feery, Rattle, 131–135 _____________________________ 68 Example 4.21: Lyons, Stung, Coda, line 3 __________________________ 70 Example 4.22: Lyons, Stung, line 1 _______________________________ 71 Example 4.23: Lyons, Stung, Introduction, line 6–7 __________________ 72 Example 4.24: Lyons, Stung, Section II ____________________________ 72 Example 4.25: Lyons, Stung, Section V ____________________________ 73 Example 4.26: Lyons, Stung, ‘A’ Section, line 3–4 ____________________ 74 Example 4.27: Lyons, Stung, ‘D’ Section, line 4–5 ____________________ 75 LIST OF FIGURES CHAPTER ONE Figure 1.1: Glicibarifono _________________________________________ 4 Figure 1.2: The First World Bass Clarinet Convention Flyer ____________ 15 CHAPTER TWO
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