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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. -
PROGRAM NOTES Wolfgang Mozart Clarinet Concerto in a Major, K
PROGRAM NOTES by Phillip Huscher Wolfgang Mozart Born January 27, 1756, Salzburg, Austria. Died December 5, 1791, Vienna, Austria. Clarinet Concerto in A Major, K. 622 Mozart composed this concerto between the end of September and mid-November 1791, and it apparently was performed in Vienna shortly afterwards. The orchestra consists of two flutes, two bassoons, two horns, and strings. Performance time is approximately twenty-nine minutes. The Chicago Symphony Orchestra’s first performance of Mozart’s Clarinet Concerto was given at the Ravinia Festival on July 25, 1957, with Reginald Kell as soloist and Georg Solti conducting. The Orchestra’s first subscription concert performance was given at Orchestra Hall on May 2, 1963, with Clark Brody as soloist and Walter Hendl conducting. Our most recent subscription concert performances were given on October 11 and 12, 1991, with Larry Combs as soloist and Sir Georg Solti conducting. The Orchestra most recently performed this concerto at the Ravinia Festival on July 15, 2001, with Larry Combs as soloist and Sir Andrew Davis conducting. This concerto is the last important work Mozart finished before his death. He recorded it in his personal catalog without a date, right after The Magic Flute and La clemenza di Tito. The only later entry is the little Masonic Cantata, dated November 15, 1791. The Requiem, as we know, didn’t make it into the list. For decades the history of the Requiem was full of ambiguity, while that of the Clarinet Concerto seemed quite clear. But in recent years, as we learned more about the unfinished Requiem, questions about the concerto began to emerge. -
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. -
Finale Transposition Chart, by Makemusic User Forum Member Motet (6/5/2016) Trans
Finale Transposition Chart, by MakeMusic user forum member Motet (6/5/2016) Trans. Sounding Written Inter- Key Usage (Some Common Western Instruments) val Alter C Up 2 octaves Down 2 octaves -14 0 Glockenspiel D¯ Up min. 9th Down min. 9th -8 5 D¯ Piccolo C* Up octave Down octave -7 0 Piccolo, Celesta, Xylophone, Handbells B¯ Up min. 7th Down min. 7th -6 2 B¯ Piccolo Trumpet, Soprillo Sax A Up maj. 6th Down maj. 6th -5 -3 A Piccolo Trumpet A¯ Up min. 6th Down min. 6th -5 4 A¯ Clarinet F Up perf. 4th Down perf. 4th -3 1 F Trumpet E Up maj. 3rd Down maj. 3rd -2 -4 E Trumpet E¯* Up min. 3rd Down min. 3rd -2 3 E¯ Clarinet, E¯ Flute, E¯ Trumpet, Soprano Cornet, Sopranino Sax D Up maj. 2nd Down maj. 2nd -1 -2 D Clarinet, D Trumpet D¯ Up min. 2nd Down min. 2nd -1 5 D¯ Flute C Unison Unison 0 0 Concert pitch, Horn in C alto B Down min. 2nd Up min. 2nd 1 -5 Horn in B (natural) alto, B Trumpet B¯* Down maj. 2nd Up maj. 2nd 1 2 B¯ Clarinet, B¯ Trumpet, Soprano Sax, Horn in B¯ alto, Flugelhorn A* Down min. 3rd Up min. 3rd 2 -3 A Clarinet, Horn in A, Oboe d’Amore A¯ Down maj. 3rd Up maj. 3rd 2 4 Horn in A¯ G* Down perf. 4th Up perf. 4th 3 -1 Horn in G, Alto Flute G¯ Down aug. 4th Up aug. 4th 3 6 Horn in G¯ F# Down dim. -
Ron Mcclure • Harris Eisenstadt • Sackville • Event Calendar
NEW YORK FebruaryVANGUARD 2010 | No. 94 Your FREE Monthly JAZZ Guide to the New ORCHESTRA York Jazz Scene newyork.allaboutjazz.com a band in the vanguard Ron McClure • Harris Eisenstadt • Sackville • Event Calendar NEW YORK We have settled quite nicely into that post-new-year, post-new-decade, post- winter-jazz-festival frenzy hibernation that comes so easily during a cold New York City winter. It’s easy to stay home, waiting for spring and baseball and New York@Night promising to go out once it gets warm. 4 But now is not the time for complacency. There are countless musicians in our fair city that need your support, especially when lethargy seems so appealing. To Interview: Ron McClure quote our Megaphone this month, written by pianist Steve Colson, music is meant 6 by Donald Elfman to help people “reclaim their intellectual and emotional lives.” And that is not hard to do in a city like New York, which even in the dead of winter, gives jazz Artist Feature: Harris Eisenstadt lovers so many choices. Where else can you stroll into the Village Vanguard 7 by Clifford Allen (Happy 75th Anniversary!) every Monday and hear a band with as much history as the Vanguard Jazz Orchestra (On the Cover). Or see as well-traveled a bassist as On The Cover: Vanguard Jazz Orchestra Ron McClure (Interview) take part in the reunion of the legendary Lookout Farm 9 by George Kanzler quartet at Birdland? How about supporting those young, vibrant artists like Encore: Lest We Forget: drummer Harris Eisenstadt (Artist Feature) whose bands and music keep jazz relevant and exciting? 10 Svend Asmussen Joe Maneri In addition to the above, this month includes a Lest We Forget on the late by Ken Dryden by Clifford Allen saxophonist Joe Maneri, honored this month with a tribute concert at the Irondale Center in Brooklyn. -
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. -
Rome Vaut Bien Un Prix. Une Élite Artistique Au Service De L'état : Les
Artl@s Bulletin Volume 8 Article 8 Issue 2 The Challenge of Caliban 2019 Rome vaut bien un prix. Une élite artistique au service de l’État : Les pensionnaires de l’Académie de France à Rome de 1666 à 1968 Annie Verger Artl@s, [email protected] Follow this and additional works at: https://docs.lib.purdue.edu/artlas Part of the History of Art, Architecture, and Archaeology Commons, and the Music Commons Recommended Citation Verger, Annie. "Rome vaut bien un prix. Une élite artistique au service de l’État : Les pensionnaires de l’Académie de France à Rome de 1666 à 1968." Artl@s Bulletin 8, no. 2 (2019): Article 8. This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. This is an Open Access journal. This means that it uses a funding model that does not charge readers or their institutions for access. Readers may freely read, download, copy, distribute, print, search, or link to the full texts of articles. This journal is covered under the CC BY-NC-ND license. Artl@s At Work Paris vaut bien un prix. Une élite artistique au service de l’État : Les pensionnaires de l’Académie de France à Rome de 1666 à 1968 Annie Verger* Résumé Le Dictionnaire biographique des pensionnaires de l’Académie de France à Rome a essentiellement pour objet le recensement du groupe des praticiens envoyés en Italie par l’État, depuis Louis XIV en 1666 jusqu’à la suppression du concours du Prix de Rome en 1968. -
Program Notes
studying clarinet with her father, Nick Cionitti, followed by lessons with Valentine Anzalone and Michael Webster. She received her B.M. degree from the Crane School of Music at SUNY Potsdam, studying with Alan Woy. Her M.M. and D.M.A. degrees are from Michigan State University, where she studied with Elsa Ludewig-Verdehr. Maila Gutierrez Springfield is an instructor at Valdosta State University and a member of the Maharlika Trio, a group dedicated to commissioning and performing new works for saxophone, trombone and piano. She can be heard on saxophonist Joren Cain’s CD Voices of Dissent and on clarinetist Linda Cionitti’s CD Jag & Jersey. MusicWeb International selected Jag & Jersey as the recording of the month for February 2010 and noted that Maila “is superb in the taxing piano part with its striding bass lines and disjointed rhythms”. For Voices of Dissent, the American Record Guide describes Maila as “an excellent pianist, exhibiting solid technique and fine touch and pedal work." Twice- honored with the Excellence in Accompanying Award at Eastman School of Music, Maila has been staff accompanist for the Georgia Governor’s Honors Program, Georgia Southern University, the Buffet Crampon Summer Clarinet Academy and the Interlochen Arts Camp where she had the privilege of working with cellist Yo-Yo Ma. She has collaborated with members of major symphony orchestras, including those in Philadelphia, Cleveland, Cincinnati, Los Angeles and Jacksonville. She was awarded a Bachelor of Music degree from Syracuse University, and a Master of Music degree from the Eastman School of Music. SELECTED RELATED LIBRARY RESOURCES 780.92 A1N532, 1984 The New Grove modern masters : Bartók, Stravinsky, Hindemith 788.620712 S932s 1970 The study of the clarinet / by William H. -
Black North American and Caribbean Music in European Metropolises a Transnational Perspective of Paris and London Music Scenes (1920S-1950S)
Black North American and Caribbean Music in European Metropolises A Transnational Perspective of Paris and London Music Scenes (1920s-1950s) Veronica Chincoli Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Florence, 15 April 2019 European University Institute Department of History and Civilization Black North American and Caribbean Music in European Metropolises A Transnational Perspective of Paris and London Music Scenes (1920s- 1950s) Veronica Chincoli Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Examining Board Professor Stéphane Van Damme, European University Institute Professor Laura Downs, European University Institute Professor Catherine Tackley, University of Liverpool Professor Pap Ndiaye, SciencesPo © Veronica Chincoli, 2019 No part of this thesis may be copied, reproduced or transmitted without prior permission of the author Researcher declaration to accompany the submission of written work Department of History and Civilization - Doctoral Programme I Veronica Chincoli certify that I am the author of the work “Black North American and Caribbean Music in European Metropolises: A Transnatioanl Perspective of Paris and London Music Scenes (1920s-1950s). I have presented for examination for the Ph.D. at the European University Institute. I also certify that this is solely my own original work, other than where I have clearly indicated, in this declaration and in the thesis, that it is the work of others. I warrant that I have obtained all the permissions required for using any material from other copyrighted publications. I certify that this work complies with the Code of Ethics in Academic Research issued by the European University Institute (IUE 332/2/10 (CA 297). -
Copy of 2017 Solo & Ensemble Additions
2016/2017 Solo & Ensemble Additions and Edits Event UIL Title Composer Arranger Treble Voice Solo 107-1-32691 Sweet Suffolk Owl Hundley Treble Voice Solo 107-1-32693 Come Ready and See Me Hundley Treble Voice Solo 107-1-32696 Ich Sagte Nicht Beach Treble Voice Solo 107-1-32698 Deine Blumen Beach Treble Voice Solo 107-1-32700 Je Demande a l'oiseau Beach Treble Voice Solo 107-1-32701 Warnung Mozart Treble Voice Solo 107-1-32702 Als Luisa die Briefe Mozart Treble Voice Solo 107-1-32704 The Year's at the Spring Beach Treble Voice Solo 107-1-32705 Pippa's Song Rorem Treble Voice Solo 107-1-32707 See How They LoVe Me Rorem Treble Voice Solo 107-1-32709 Simple Song Bernstein Treble Voice Solo 107-1-32711 The Lord is my Shepherd Childs Treble Voice Solo 107-1-32712 Wir Wandelten Brahms Treble Voice Solo 107-1-32713 Die Mainacht Brahms Treble Voice Solo 107-1-32714 Susses Begrabnis Loewe Treble Voice Solo 107-1-32715 Standchen Schubert Treble Voice Solo 107-1-32716 Notre Amour Faure Treble Voice Solo 107-1-32717 Lamento Duparc Treble Voice Solo 107-1-32718 OuVre ton Coeur Bizet Treble Voice Solo 107-1-32719 Chanson d'AVril Bizet Treble Voice Solo 107-1-32721 Ho Sparse Tante Lagrime Morlacchi Treble Voice Solo 107-1-32723 Oh, Vieni al Mare Donizetti Treble Voice Solo 107-1-32725 Non t'accostare all'urnA Ferrari Treble Voice Solo 107-1-32727 L'addio Vaccai Treble Voice Solo 107-1-32728 In Uomini in soldati from Cosi fan tutte Mozart Treble Voice Solo 107-1-32729 Una Donna a Quindici anni from Cosi fan Tutte Mozart Treble Voice Solo 107-1-32730 Batti -
A More Attractive ‘Way of Getting Things Done’ Freedom, Collaboration and Compositional Paradox in British Improvised and Experimental Music 1965-75
A more attractive ‘way of getting things done’ freedom, collaboration and compositional paradox in British improvised and experimental music 1965-75 Simon H. Fell A thesis submitted to the University of Huddersfield in fulfilment of the requirements for the degree of Doctor of Philosophy The University of Huddersfield September 2017 copyright statement i. The author of this thesis (including any appendices and/or schedules to this thesis) owns any copyright in it (the “Copyright”) and he has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes. ii. Copies of this thesis, either in full or in extracts, may be made only in accordance with the regulations of the University Library. Details of these regulations may be obtained from the Librarian. This page must form part of any such copies made. iii. The ownership of any patents, designs, trade marks and any and all other intellectual property rights except for the Copyright (the “Intellectual Property Rights”) and any reproductions of copyright works, for example graphs and tables (“Reproductions”), which may be described in this thesis, may not be owned by the author and may be owned by third parties. Such Intellectual Property Rights and Reproductions cannot and must not be made available for use without the prior written permission of the owner(s) of the relevant Intellectual Property Rights and/or Reproductions. 2 abstract This thesis examines the activity of the British musicians developing a practice of freely improvised music in the mid- to late-1960s, in conjunction with that of a group of British composers and performers contemporaneously exploring experimental possibilities within composed music; it investigates how these practices overlapped and interpenetrated for a period. -
The Singing Guitar
August 2011 | No. 112 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Mike Stern The Singing Guitar Billy Martin • JD Allen • SoLyd Records • Event Calendar Part of what has kept jazz vital over the past several decades despite its commercial decline is the constant influx of new talent and ideas. Jazz is one of the last renewable resources the country and the world has left. Each graduating class of New York@Night musicians, each child who attends an outdoor festival (what’s cuter than a toddler 4 gyrating to “Giant Steps”?), each parent who plays an album for their progeny is Interview: Billy Martin another bulwark against the prematurely-declared demise of jazz. And each generation molds the music to their own image, making it far more than just a 6 by Anders Griffen dusty museum piece. Artist Feature: JD Allen Our features this month are just three examples of dozens, if not hundreds, of individuals who have contributed a swatch to the ever-expanding quilt of jazz. by Martin Longley 7 Guitarist Mike Stern (On The Cover) has fused the innovations of his heroes Miles On The Cover: Mike Stern Davis and Jimi Hendrix. He plays at his home away from home 55Bar several by Laurel Gross times this month. Drummer Billy Martin (Interview) is best known as one-third of 9 Medeski Martin and Wood, themselves a fusion of many styles, but has also Encore: Lest We Forget: worked with many different artists and advanced the language of modern 10 percussion. He will be at the Whitney Museum four times this month as part of Dickie Landry Ray Bryant different groups, including MMW.