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Electronic Theses, Treatises and Dissertations The Graduate School

2016 Canadian Works for Horn by , Malcolm Forsyth and Elizabeth Raum Kiirsi L. Maunula

Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY

COLLEGE OF

CANADIAN WORKS FOR HORN BY

MICHAEL CONWAY BAKER, MALCOLM FORSYTH

AND ELIZABETH RAUM

By

KIIRSI MAUNULA

A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music

2016 Kiirsi Maunula defended this treatise on October 27, 2016. The members of the supervisory committee were:

Michelle Stebleton Professor Directing Treatise

Steve Kelly University Representative

Christopher Moore Committee Member

Alexander Jimenez Committee Member

The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements.

ii ACKNOWLEDGMENTS

I am grateful to my family, especially my parents Kevin and Tracie Maunula for their constant support through my education and the many uncertainties that come with being a . Thank you to my professors over the years, Michelle Stebleton, Randy Gardner, Derek Conrod, and Ron George, who continue to offer advice and inspiration, as well as my committee members for their wisdom during this process. To my fiancé, Jim Johnson thank you for your unwavering support throughout this degree and in all that I do. Finally, thank you to the Michael Conway Baker and Elizabeth Raum for their aid in such research as well as the Counterpoint Music Library for the inclusion of Malcolm Forsyth’s works in this document.

iii TABLE OF CONTENTS

List of Tables ...... vi List of Figures ...... vii Abstract ...... viii

1. OVERVIEW OF CONTEMPORARY MUSIC RESOURCES IN ...... 1

Canada Council for the Arts ...... 1 ...... 2 Counterpoint Music Library ...... 4 Library and Archives Canada and AMICUS ...... 5 Canadian Broadcasting Corporation ...... 6

2. THE RESEARCH ...... 9

Canada’s Composers of Solo and Small Chamber Works for Horn ...... 9 Process of Contacting Composers ...... 11

3. MICHAEL CONWAY BAKER ...... 13 Biography ...... 13 Performer’s Guide to Colours of Space ...... 16 Promotion of Works ...... 18

4. MALCOLM FORSYTH ...... 20 Composer Biography ...... 20 Performer’s Guide to Eclectic Suite (Pop’s Cycle) ...... 24 Promotion of Works ...... 29

5. ELIZABETH RAUM ...... 31 Composer Biography ...... 31 Performer’s Guide to Fantasy for French Horn ...... 35 Promotion of Works ...... 37

6. CONCLUSION ...... 39

iv APPENDICES ...... 41

A. HUMAN SUBJECT RESEARCH CLEARANCE ...... 41 B. HUMAN SUBJECT INTERVIEW QUESTIONNAIRE ...... 42 C. HUMAN SUBJECT INTERVIEW CONTRACT ...... 43 D. MICHAEL CONWAY BAKER CONSENT ...... 44 E. ELIZABETH RAUM CONSENT ...... 45 F. COUNTERPOINT MUSIC LIBRARY CONSENT ...... 46 F. MICHAEL CONWAY BAKER QUESTIONNAIRE RESPONSES ...... 47 G. ELIZABETH RAUM QUESTIONNAIRE RESPONSES ...... 48 I. INDEX OF LIBRARIES AND PUBLISHERS ...... 53

References ...... 55

Biographical Sketch ...... 60

v LIST OF TABLES

Table 1.1. Listed Composers with One or More Work for Solo Horn and Piano ...... 10 Table 3.1. Michael Conway Baker’s Works for Solo Horn and Piano ...... 15 Table 3.2. Michael Conway Baker’s Chamber Works for Horn, up to Nine Instrumentalists ...... 16 Table 4.1. Malcolm Forsyth’s Works for Solo Horn and Piano ...... 22 Table 4.2. Malcolm Forsyth’s Chamber Works for Horn, up to Nine Instrumentalists ...... 23 Table 5.1. Elizabeth Raum’s Works for Solo Horn and Piano ...... 33 Table 5.2. Elizabeth Raum’s Chamber Works for Horn, up to Nine Instrumentalists ...... 34

vi LIST OF FIGURES

Figure 3.1. Baker, M. Colours of Space, mm. 59-68 ...... 17 Figure 3.2. Baker, M. Colours of Space, mm. 24-32 ...... 18 Figure 4.1. Forsyth, M. Eclectic Suite I, mm. 17-23 ...... 26 Figure 4.2. Forsyth, M. Eclectic Suite III, mm. 227-233 ...... 26 Figure 4.3. Forsyth, M. Eclectic Suite I, mm. 1-7 ...... 27 Figure 4.4. Forsyth, M. Eclectic Suite I, mm. 54-59 ...... 27 Figure 4.5. Forsyth, M. Eclectic Suite III, mm. 151-158 ...... 28 Figure 5.1. Raum, E. Fantasy for French Horn, mm. 75-81 ...... 36 Figure 5.2. Raum, E. Fantasy for French Horn, mm. 30-44 ...... 36

vii ABSTRACT

This document provides a reference source for horn players and educators worldwide, creating an awareness of three of Canada’s most prolific contemporary composers of horn repertoire. These composers are identified through research in Canada’s largest libraries for works by Canadian composers. All of the composers who have written at least one original solo work for horn with piano are included in a table that outlines both their total output for solo horn with piano, and horn in small settings. As the table indicates, the research reveals Michael Conway Baker, Malcolm Forsyth and Elizabeth Raum to be the most prolific in both areas. Together, they have contributed sixty works for horn with nine or fewer instrumentalists. The document begins with an outline of the resources that have been put into place across Canada to support the creation of Canadian repertoire. All of the three composers make use of these musical resources in the dissemination of their works throughout Canada, contributing to their output of this repertoire. An overview of the three composers and one representative work for each follow the discussion of Canadian resources. A performer’s guide for the music of Baker, Forsyth and Raum provides insight into their works. To this date, the dissemination and performance of works for horn by Canadian composers remains limited outside of Canada.

viii CHAPTER 1

OVERVIEW OF CONTEMPORARY MUSIC RESOURCES IN CANADA

Contemporary Canadian music has played a pivotal role in the creation of musical culture across Canada. Promoters of this music have created resources in order to disseminate Canadian music and encourage its use in recitals and repertoire lists in Canada and around the world. Such resources include the for the Arts, the Canadian Music Centre, the Counterpoint Music Library, the Library and Archives Canada, and the Canadian Broadcasting Corporation. Canada’s contemporary composers have come to rely on several—if not all—of these resources in order to support and disseminate their works. This has ultimately contributed to the extensive output within Canada of horn repertoire by Canadian composers; however, while this music is readily available, it is not known widely outside of Canada. This document highlights the most prolific composers of these works, including Michael Conway Baker, Malcolm Forsyth and Elizabeth Raum, along with three of their pieces as representative works. In order to understand how Canadian music is supported and disseminated, this document will first identify the resources put into place across Canada.

Canada Council for the Arts

The Canada Council for the Arts developed out of a representative music council, known as the Canadian Music Council, which was unaffiliated with the Canadian Government. The original council lobbied on behalf of numerous music organizations across Canada, including private publishing companies, the Canadian Library Association, the Canadian League of Composers and the Canadian Federation of Music Teachers.1 In 1957, the Canada Council for the Arts (CCA) was officially incorporated by the Canadian Government as its own representative arts committee. The CCA operates separately from Parliament in the distribution of its funds, which are generated from Government sources. These funds are directed to the development of the arts as a

1 Karen Keiser and Mark Hand, “The Canadian Music Centre: A History,” Fontes Artis Musicae 34, no. 4 (October – December 1987), 217. 1 whole, but include specific funding for , media arts, theatre, visual arts and music.2 The CCA as a representative committee has twenty-one board members, who are funded by the Canadian Government while upholding and formulating its own policies.3 The support of the development of a central musical hub for Canadian contemporary music, known as the Canadian Music Centre, was the CCA’s first contribution to contemporary music in Canada. Acting as one of Canada’s main sources of funding for the arts, the Canada Council for the Arts allocated over 155 million dollars in the 2014-15 fiscal year to the development of the arts. Beyond its financial support, the Canada Council also facilitates yearly studies on the success of the arts programs in order to continually improve artistic programs from year to year.4 Since its inception in 1957, the Canada Council for the Arts “[has] promote[d] the study, enjoyment of, and the production of works in the arts.”5 With funding for all artistic disciplines, the funds specifically allocated for music assist with grants for concert production, the commissioning of Canadian compositions, professional tours, and composer residencies with Canada’s .6

Canadian Music Centre

Sir Ernest MacMillan wrote on behalf of the Canadian Music Council about a need to promote Canadian music and its after World War II.7 With this, he initiated the idea of a central organization acting as a contemporary hub for Canadian composers and performers. In 1959, the Canadian Music Centre (CMC) was ultimately created through funds allocated from the CCA and the enduring support of the Canadian Music Council. Since the beginnings of the Canadian Music Centre, its focus has remained on “collecting and cataloguing serious musical works, developing a catalogue of music scores, copying and duplicating music, and making [parts] available for loan, both nationally and internationally.”8

2 Helmut Kallmann, Gilles Potvin, Kenneth Winters, Robin Elliott, and Mark Miller ed., Encyclopedia of Music in Canada (: Press, 1992), 191. 3 Kallmann et al., ed., Encyclopedia of Music in Canada, 191. 4 “About Us,” Canada Council for the Arts, accessed May 6, 2016, http://canadacouncil.ca. 5 “Corporate Information,” Canada Council for the Arts, accessed June 13, 2016, http://canadacouncil.ca/council/about-the-council. 6 “Searchable Grants Listing,” Canada Council for the Arts, accessed May 6, 2016, http://canadacouncil.ca/council/grants/past-recipients. 7 Keiser and Hand, “The Canadian Music Centre: A History,” 216. 8 “History,” About the Canadian Music Centre, accessed July 13, 2016, https://www.musiccentre.ca/about/history. 2 The CMC, which began as a non-profit organization, continues as a separate entity from the Canadian Government. It has grown from a central library created in 1959 to “a national office and five regional centres, representing (established in 1973), (1977), the Prairie provinces (1980), (1983), and the Atlantic provinces (1996).”9 Through continued growth, the CMC become a distinct figure Canadian musical culture, which supports the production of contemporary classical music nation-wide. The CMC is a unique resource which connects Canadians across the country. In the forward to its Catalogue of Chamber Music, published in 1967, Sir Ernest MacMillan states that “the heart of the Centre is its unique circulating library of Canadian Music.”10 This vital organization for Canadian composers and performers has expanded into a variety of resources. These include an online listing of the complete holdings of each of the composers’ works that reside in the library, a physical library for reference scores, and free score rentals for educational purposes. The CMC offers free mail services on loans directly to the performer throughout Canada for a two-month period, with postage charges required only for international loans.11 These loans were created to encourage the reading of previously undiscovered Canadian repertoire. The CMC encourages the purchase of its composer’s works by noting on their website that high postage charges on international loans easily equal the cost of purchase.12 The CMC also offers sales of scores and the private recording label ‘Centrediscs’ for the recording of Canadian concert music.13 The website for the CMC maintains individual composer webpages known as Composer Showcases, which act as a promotional page for the composers included in the catalogue. These Showcases contain brief biographies and a complete holdings list for each composer. In some cases, recording samples of the composers’ works and PDF non-printable versions of sample scores are also made available. All of the composers included in the CMC are as Associate Composers.

9 Jason van Evk, “Of Note: The Canadian Music Centre: A Primer,” Canadian Winds: The Journal of the Canadian Association, 3, no. 1 (Fall 2004): 3. 10 Ernest MacMillan, foreword to Catalogue of Canadian Chamber Music, (Toronto: Canadian Music Centre 1967), 2. 11 “Perusal Scores,” Canadian Music Centre: About, accessed May 6, 2016, https://www.musiccentre.ca/about/services/perusal-scores. 12 “Perusal Scores,” Canadian Music Centre: About, https://www.musiccentre.ca/about/services/perusal- scores. 13“About,” Canadian Music Centre, accessed May 6, 2016, https://www.musiccentre.ca/about. 3 The CMC catalogue identifies its Associate Composers after an application process, which includes four factors: proof of Canadian citizenship, landed immigrant status or permanent residency; documentation verifying completion of a formal education in composition; five or more independently created works; and proof of a minimum of five performances of their written works by professional performers or organizations.14 The list of Associate Composers of the Canadian Music Centre continues to grow, from its 318 composers in the first three years, to the over 970 composers today (2016). 15 According to the CMC website, they represent “a musical community that honours our legacy and supports the professional development of Canadian musicians and composers . . . [While also supporting] artistic diversity and embrac[ing] Canada’s rich cultural heritage in creative centres across the country and internationally.”16 The CMC also promotes the composers included in the catalogue and makes their works available for rental across Canada and abroad. In 1962, the Canadian Music Centre, in conjunction with the Canadian Music Educators’ Association, contributed to the John Adaskin Project in a study of Canadian contemporary instrumental composers. The purpose of the project was to promote the performance of Canadian music in the educational system. This encouraged Canadian composers to add to instrumental repertoire, and informed music educators of the music suitable for school use. As a result, Eleanor Stubley published her annotated bibliography, A Guide to Solo French Horn Music, in 1990.17 The bibliography names a variety of Canadian composers writing for unaccompanied horn, solo horn and keyboard, horn and tape, and horn and percussion. This is the most recent comprehensive guide to Canadian horn literature.

Counterpoint Music Library

Created in 1994, the Counterpoint Music Library catalogue contains over 2200 works that represent both Canadian and international composers. The publishing side separated from the retail side of the company in 2008 to focus on the production and rental of orchestral sheet

14 “Become an Associate,” Canadian Music Centre, accessed May 6, 2016, https://www.musiccentre.ca/become-an-associate. 15 Adaskin, John. "The Canadian Music Centre Story" Notes 19, no. 4 (1962), 601. 16 “Mission Statement,” Canadian Music Centre, accessed May 6, 2016, https://www.musiccentre.ca/about/missionstatement. 17 Eleanor Victoria Stubley, A Guide to Solo French Horn Music by Canadian Composers, (Toronto: Canadian Music Centre, 1990), iii. 4 music.18 Since its creation, the Counterpoint Music Library has continued to provide reliable publishing and print resources for Canadian composers, many of which are not expressly highlighted as Associate Composers of the Canadian Music Centre. Like the CMC, the Counterpoint Music Library promotes its composers’ works via their rental service.19 The Counterpoint Music Library includes a number of international composers in its catalogue, yet maintains its focus on representing Canadian composers. The Counterpoint Music Library is the official publisher of Malcolm Forsyth’s compositions, overseeing the copying, publication, rental and purchase of his works.20 They also include a biography on their website dedicated to Forsyth which lists accolades for his works, sample audio clips of his compositions, a link to his personal website and a list of complete holdings in the Counterpoint Music Library catalogue.

Library and Archives Canada and AMICUS

Canada’s National Library and Archives maintains an online catalogue that lists the holdings of a large majority of Canadian libraries. The catalogue, named AMICUS “which in Latin means ‘friend,’ not only lists the published materials held at the Library and Archives Canada (LAC), but also those located in over 1300 libraries across Canada.” 21 The LAC includes resources from Canadian universities, public libraries, and publishing companies that choose to make their catalogues available. Loans from the LAC may be obtained world-wide directly through the listed libraries across Canada or through the interlibrary loan services offered directly by local libraries. The AMICUS catalogue searches “over thirty-million records for books, magazines, , government documents, theses, sound recordings, maps, electronic texts as well as items in braille and large print.”22 A reference catalogue has been in use at the National Library of Canada in hard copy since 1983.23

18 “About Counterpoint Music Library Services Inc.,” Counterpoint Music Library Music Services, accessed May 4, 2016, http://cpmusiclibrary.ca/about-us/. 19 Counterpoint Music Library, “About Counterpoint Music Library Services Inc.” 20 “Order Music,” Malcolm Forsyth, accessed May 31, 2016, http://malcolmforsythcomposer.ca/order- music/. 21 “AMICUS Help,” Library and Archives Canada, www.collectionscanada.gc.ca/amicus/006002-130.1- e.html. 22 “About AMICUS,” Library and Archives Canada, last modified August 8, 2015, www.baclac.gc.ca/eng/services/amicus/Pages/about-amicus.aspx. 23 “AMICUS Help,” Library and Archives Canada. 5 Canadian Broadcasting Corporation

The Canadian Broadcasting Corporation (CBC) began as one of the most comprehensive forms of support for contemporary Canadian music and musicians. Established in 1936, the CBC continues to be the main source of both radio and broadcasting in Canada. It supports Canadian musical culture by connecting Canadians across the country. The CBC has also initiated commissions of Canadian works, produced national and international broadcasts, and encouraged the broadcast of Canadian-specific content.24 Canada became the first dominion of the British Empire with the signing of the British North America Act in 1867.25 After Confederation, Canada worked for years to solidify its cultural identity as separate from that of the British Empire. Stemming from Canada’s late development in national identity, and with approximately eighty percent of Canadians residing along the American border, the influence of American culture through Canadian airwaves has threatened to overtake attempts by the CBC at creating a unique Canadian culture.26 For Canadian composers and performers, there were limited performance opportunities and cultural resources for their talents in Canada.27 Due to the lack of support, Canadian talent went abroad to study and, prior to the efforts of the CBC, returned to the United States to pursue their careers. In support of the growth of Canada’s musical and cultural identity, the CBC worked with the Canadian Radio-Television & Telecommunications Commission (CRTC) to create the laws for broadcasts on the airways and television. The Canadian Radio-Television & Telecommunications Commission (CRTC) Act was created in 1976, and its maintains support of Canadian-specific broadcasting. The CRTC, as an independent organization, enforces the formal guidelines on the quantity of Canadian content over the airwaves. For years, other musical organizations, including the Canada Council, encouraged and attempted to create such guidelines.28 In order to qualify as Canadian content,

24 Keith MacMillan, “Broadcasting,” The Canadian Encyclopedia, last modified December 16, 2013, accessed June 26, 2016, http://thecanadianencyclopedia.com/en/article/broadcasting-emc/. 25 The Royal Household, “Canada,” The Home of the Royal Family, accessed September 20, 2016, https://www.royal.uk/canada. 26 Ibid. 27 Patricia Kellogg, “Sounds in the Wilderness: Fifty Years of CBC Commissions,” in Musical Canada Words and Music Honouring Helmut Kallmann, ed. John Beckwith and Frederick A. Hall (Toronto: University of Toronto Press, 1988), 241. 28 Tamsen Tillson, “CRTC 101: Broadcasting regulations made easy,” Variety 373, no. 5 (Dec. 14, 1998): 119, accessed March 4, 2015, Academic OneFile. 6 known as ‘can con,’ “a recording must be Canadian in two of the four following criteria: music, artist, production or (known as the MAPL).”29 The most recent Canadian content rulings as stated on the CRTC website, issued in 2006, indicated that broadcasting would maintain thirty-five percent Canadian content. Special-interest music broadcasting, specifically identified as concert or classical music, increased in its content requirements from ten percent to a minimum of twenty-five percent.30 From the beginning of the CBC, there has been a need for a clear Canadian presence across the country “to counter the American influence and protect Canadian culture.” 31 To this day, some Canadian performers and composers recognize CBC Radio as a primary source in disseminating Canadian music, despite its diminishing funds over the years. It was not until 1929, days before the stock market crash, that Prime Minister Mackenzie King released the results of a study indicating the benefit of a publicly owned broadcasting corporation. He claimed that this public investment would build strong national ties across Canada. With the financial effects of the stock market crash, Prime Minister King’s plan took over six years to initiate. In 1936, the official signing of the Canadian Broadcasting Act allowed the airways to become a public resource with the financial support of the Canadian Government.32 Sixty percent of the CBC’s funding comes from federal grants, with the remaining forty percent funded through commercial sponsorship, advertising, and program sales to other countries.33 This type of funding support—without governmental ownership—comes from Crown Corporations. These corporations are “hybrid entities, somewhere between a government body and a private enterprise. They are wholly owned by the state but operate at arm's length from government.”34

29 Canadian Independent Record Production Association, “Recording Industry,” The Canadian Encyclopedia, last modified March 4, 2015, http://www.thecanadianencyclopedia.ca/en/article/recording-industry/. 30 “Broadcasting Public Notice CRTC 2006-158,” Canadian Radio-television and Telecommunications Commission, last modified December 15, 2006, accessed June 26, 2016, http://www.crtc.gc.ca/eng/archive/2006/pb2006-158.htm. 31 “Our History,” CBC Radio-Canada, accessed June 27, 2016, http://www.cbc.radio- canada.ca/en/explore/our-history/. 32 Laura Neilson Bonikowsky, “Founding of the Canadian Broadcasting Corporation,” The Canadian Encyclopedia, last modified March 4, 2015, accessed June 26, 2016, http://thecanadianencyclopedia.com/en/article/founding-of-the-cbc-feature/. 33 Ross A. Eaman, “CBC/Radio-Canada,” The Canadian Encyclopedia, last modified June 24, 2015, accessed June 27, 2016, http://thecanadianencyclopedia.com/en/article/canadian-broadcasting-corporation/. 34 Kazi Stastna, “What are Crown corporations and why do they exist?” CBC- News, accessed October, 22, 2016, http://www.cbc.ca/news/canada/what-are-crown-corporations-and-why-do-they-exist-1.1135699. 7 In its early years, the content of CBC Radio included more than forty-five programs, six hundred symphonic concerts and two thousand chamber programs, delivered in part by the regional radio orchestras in Canada, including the CBC Chamber Orchestra, later known as the CBC Radio Orchestra. 35 In existence from 1938 to 2008, the CBC Radio Orchestra was the longest operating Canadian radio orchestra and the “last remaining radio orchestra in North America.”36 Particularly notable for hornists, the CBC Radio Orchestra earned a in 1998 for its recording of the Mozart horn concerti conducted by and performed by Canadian horn soloist Jamie Sommerville.37 With the growth of competition from private networks (including radio) and funding gaps from the financial crisis in the past decade, CBC Radio has moved away from its focus on concert music. The CBC justified the decision to promote more income-driven, popular repertoire over the airwaves as moving toward broadcasting of a “wider variety of musical genres,” while still adhering to current Canadian content laws.38 Classical concert musicians and composers continue to fight the change in broadcasting. In direct reaction to the broadcasting changes on CBC Radio 2, known unofficially since 1964 as the classical music station for Canada, activists protested at the CBC offices in 2008. Colin Eatock writes in his article “Culture Wars at the CBC,” that “for four decades, Radio 2 didn’t just broadcast classical music: the network nurtured it, supporting Canada’s classical musicians and cultivating a taste for the art they practiced.”39 With this change in programming, Canada’s composers continue to fight— unsuccessfully—to defend a lack of radio airtime for their works and, therefore, support of their works. Canada’s contemporary composers of all genres have come to rely on this support of the CBC since its inception.40

35 MacMillan, “Broadcasting.” 36 Bryan N.S. Gooch, Evan Ware and Max Wyman, “CBC-Radio Orchestra,” The Canadian Encyclopedia, last modified December 16, 2013, accessed June 26, 2016, http://thecanadianencyclopedia.com/en/article/cbc-radio- orchestra-emc/. 37 Ibid. 38 Colin Eatock, “Culture Wars at the CBC,” Queen’s Quarterly, (Summer 2008): 261. 39 Ibid, 265. 40 Ibid, 266. 8 CHAPTER 2

THE RESEARCH

Canada’s Composers of Solo and Small Chamber Works for Horn

A thorough search of the library catalogues for works by contemporary Canadian composers who have written the majority of Canadian solo works for horn and piano reveals three composers: Michael Conway Baker, Malcolm Forsyth, and Elizabeth Raum. The works included in the search are limited to original compositions for horn, and transcriptions by the primary composer of his/her own works. The referenced catalogues include the Canadian Music Centre (CMC), the Counterpoint Music Library, and the Library and Archives Canada (LAC) and their music catalogue, AMICUS. To further substantiate the claim that these artists have made large contributions to the Canadian solo horn repertoire, the author has identified their total output of works for horn and small chamber music (for up to nine instrumentalists). This expanded research identifies that the top three Canadian composers of solo repertoire for horn and piano, as listed in the library catalogues, have also written the most works for small chamber music featuring the horn. In the context of this study, the term ‘small chamber’ is limited to repertoire for horn and up to eight instrumentalists. The Canadian Music Centre catalogue classifies the term ‘small ensemble’ as nine total performers versus their ‘large ensemble’ designation, which is ten musicians and above. Table 1.1 includes all of the composers listed in the library catalogues who have written one or more works for solo horn and piano. The right column identifies the number of these composers’ listed small chamber works for horn. The table reveals that the three highlighted composers have written the majority of both solo and small chamber works for horn. Out of a total of forty-two composers listed in the library catalogues who have written works for both solo horn and piano and small chamber music, Michael Conway Baker, Malcolm Forsyth and Elizabeth Raum have written 30.7% of the 205 works. In individual percentages, Baker has composed 7.8%, Forsyth has composed 12.7%, and Raum has composed 10.2%. In comparison to the other composers listed, Baker, Forsyth, and Raum have composed more than twice as many works for solo horn and small chamber music than their colleagues. Together, the three have contributed sixty works with nine or fewer instrumentalists to the Canadian horn repertoire.

9 It should be noted that there are outlying composers who do not fit into the parameters of this research, yet continue to make clear contributions to the Canadian solo horn and small chamber repertoire. The first example is Gary Kulesha, of Ontario, Canada, who is omitted from the study due to the lack of a listed composition in the category of solo horn and piano music. The library catalogues include twelve of Kulesha’s small chamber works featuring the horn. These chamber works range from numerous brass quintets, to a wind quintet and a trio for horn, tuba, and piano. Another composer who wrote numerous works of small chamber music is bassoonist and composer Harold Wevers. With one composition for solo horn and piano, Wevers is included in table 1.1, although his total solo and small chamber pieces for horn fall behind the total output of the top three composers. The majority of Wevers’ compositions for horn are written for his friends and colleagues in the Thunder Bay Symphony Orchestra who formed a trio for , horn, and piano called Music in Common.

Table 1.1. Listed Composers with One or More Work for Solo Horn and Piano Composer Solo & Piano Chamber TOTAL Archer, V. 1 5 6 Baker, M.C. 4 12 16 Bissell, F. 1 4 5 Blair, D. 2 6 8 Bouchard, R. 1 ⎯ 1 Charke, D. 1 4 5 Coakley, D. 1 3 4 Coulthard, J. 1 1 2 Crawley, C. 1 4 5 Duncan, L. 2 1 3 Floyd, M. 1 4 5 Fourneir, H. 1 - 1 Forsyth, M. 3 23 26 Gougeon, D. 2 1 3 Grossi, J. 1 1 2 Hannah, R. 1 2 3 Healey, D. 1 4 5 Hetu, J. 2 1 3 Ho, A. 1 1 2

10 Table 1.1. - continued Composer Solo & Piano Chamber TOTAL Johnston, R. 1 1 2 Kaplan, D. L. 3 ⎯ 3 Koprowski, P. 1 1 2 Lauber, A. 1 1 2 Miller, M. 1 3 4 Morawetz, O. 1 1 2 Morel, F. 1 4 5 Palmieri, S. 1 1 2 Parker, M. 1 4 5 Pentland, B. 1 5 6 Pishny-Floyd, M.K. 1 4 5 Polson, A. 1 1 2 Raum, E. 4 17 21 Roper, H. 1 ⎯ 1 Schudel, T. 2 3 5 Smallman, J. 1 1 2 Sullivan, T. 1 ⎯ 1 Sweete, D. 1 3 4 Weinzweig, J. 1 4 5 Weisgarber, E. 1 2 3 Wevers, H. 1 9 10 Wind, C. 1 ⎯ 1 Wuensh, G. 3 4 7 TOTALS 59 146 205

Process of Contacting Composers

The effectiveness of the Canadian resources for music dissemination is validated in the interviews, conducted or referenced through posthumous documentaries, as a part of the research for this document. Michael Conway Baker and Elizabeth Raum were introduced to the project through initial contact via email; official contract and interview questions followed. Appendices D and E list each of the composers’ confirmed consent for the interviews.

11 With Malcolm Forsyth’s death in 2011, in place of his interview, contact was attempted with his daughter, world-class cellist Amanda Forsyth. Ms. Forsyth is both knowledgeable of her father’s compositional process and the of his cello work included in this document, Eclectic Suite (Pop’s Cycle). Kirshbaum Associates Incorporated, Ms. Forsyth’s agent, initiated contact with her. At the time of publication, no response was received from Ms. Forsyth. Insight that would have been collected from her questionnaire was ascertained through posthumous documentaries based on interviews with Malcolm Forsyth. Forsyth’s interviews are also supplemented with similar interviews by his daughter Amanda, as well as his composition students. Michael Conway Baker and Elizabeth Raum’s questionnaire responses are included in appendices F and G, respectively.

12 CHAPTER 3

MICHAEL CONWAY BAKER

Composer Biography

Michael Conway Baker was born in West Palm Beach, Florida in 1937 and became a naturalized Canadian in 1970. He received his associates degree from the London College of Music and then moved to Vancouver, Canada to attend the University of British Columbia, studying with two of Canada’s prominent composers, and Elliot Weisgarber.41 Through his studies with Coulthard, Baker was inspired to commit to a ‘tonally-based musical idiom.’ 42 His compositional style counteracted the more atonal works of the time. Baker’s focus on tonal composition grew out of Jean Coulthard’s style and her studies with Vaughan Williams and Australian-born Arthur Benjamin.43 Coulthard’s style is cited by the Canadian Encyclopedia to be that of “integral romanticism, the assertion of tonality through strong key centres and the use of colouristic harmonies, robust rhythms and cyclical formal structures.”44 After his studies, Baker balanced his composing career by teaching in the Vancouver elementary school system through 1989. During this time he also acted as an adjunct instructor of composition at area universities.45 Baker’s writing lends itself well to film with his approach to composition “resisting both the avant-garde and the academic mainstream, choosing to sound his distinctive lyrical and highly expressive voice in the neoclassical and neoromantic idioms.”46 Baker said of his leaning toward tonality that, by resisting the more modern techniques, he could achieve his largest means of musical expression.47 His start in film

41 Betty Nygaard King, David Duke and Barclay McMillan, “Michael Conway Baker,” in The Canadian Encyclopedia, edited March 4, 2016, accessed July 13, 2016, http://www.thecanadianencyclopedia.ca/en/article/michael-conway-baker-emc/. 42 Barclay McMillan, Vivienne Rowley, William Bruneau, Bryan N.S. Gooch, Betty Nygaard King, Elain Keillor, and David Duke “Jean Coulthard,” in The Canadian Encyclopedia, edited March 4, 2015, accessed July 26, 2016, http://www.thecanadianencyclopedia.ca/en/article/jean-coulthard/. 43 Barclay McMillan, Vivienne Rowley, William Bruneau, Bryan N.S. Gooch, Betty Nygaard King, Elain Keillor, and David Duke “Jean Coulthard,” in The Canadian Encyclopedia, edited March 4, 2015, accessed July 26, 2016, http://www.thecanadianencyclopedia.ca/en/article/jean-coulthard/. 44 Ibid. 45 Betty Nygaard King, et al., “Michael Conway Baker.” 46 Barclay McMillan and David Duke, “Michael Conway Baker,” in The Encyclopedia of Music in Canada, ed. Helmut Kallmann and Gilles Potvin (Toronto: University of Toronto Press, 1992), 69. 47 Michael Conway Baker, interview by author, electronic mail, June 15, 2016. 13 composition began in 1979 when he was asked to score a documentary entitled Nails by Phillip Borsos, for which he went on to win a Genie award for Original Musical Score at the Canadian Film Awards.48 As a modern composer, Baker has created a prolific and varied repertoire, including music for television, chamber ensembles, and the concert hall. His symphonic works are primarily tonal and exude lyricism. The Canadian Music Centre website states that “although tonal, [Baker] rarely uses key signatures because of his music’s constantly shifting tonal centres. His music is often of an evocative nature and lends itself to extra-musical venues such as dance, skating and film.”49 “Barber, Ravel [and] composers like Brubeck” 50 have had the most influence on Baker. Throughout his writing, influences from Ravel’s dense texture and Barber’s clear melodic lines to Brubeck’s driving rhythmic motion are evident. Baker’s compositions maintain a strong focus on melody by using sweeping lines throughout his symphonic and instrumental works, which he carries through to his film scores. According to Baker’s website, as of 2013, he has composed many types of music, from over 200 film scores, to 163 opuses in concert music, including ballets, symphonies, concerti and chamber music.51 Baker’s works continue to earn prestigious commissions from professional artists and ensembles across the country, including Canadian flautist Robert Aitken, the National Ballet of Canada and the Vancouver Symphony Orchestra. The Canadian Broadcasting Corporation also promotes Baker’s works extensively, with numerous airings on the radio and their release in 1998 of a JUNO award-winning recording composed entirely of his music.52 Other awards for his works range from film distinctions to the Order of British Columbia and, in 2006, the Queen’s Golden Jubilee Medal.53 To this date, Baker has composed four works for solo horn and piano. He states that he chooses to write for the instrument due to his association with horn players who request

48 Ellen Baragon, “Working in in B.C. is ‘bloody hard,’” The Canadian Composer, no. 228 (March 1988): 18. 49 “Michael Conway Baker- Biography,” Canadian Music Centre Composer Showcase, accessed June 4, 2016, https://www.musiccentre.ca/node/37284/biography. 50 Michael Conway Baker, interview by author, electronic mail, June 15, 2016. 51 Michael Conway Baker, “Home,” accessed July 16, 2016, http://www.michaelconwaybaker.com. 52 Betty Nygaard King, “Michael Conway Baker.” 53 Michael Conway Baker- Biography,” Canadian Music Centre Composer Showcase, accessed June 4, 2016, https://www.musiccentre.ca/node/37284/biography. 14 commissions.54 Baker’s first work, Cantilena and, most recently, his Remembrances for horn and piano were written for former Associate Principal Horn of the Vancouver Symphony, Brian G’froerer. Baker describes his compositional process as beginning with the instrumentation and consulting with the hornist in order to visualize the instrumentation prior to composition. “The nature of the musical material is ‘inspired’ by the qualities of the instrument.”55 In the dedication to the Remembrances, G’froerer comments on Baker’s humanistic writing style. He states how the story of his family’s immigration from France to the plains of , Canada is folded perfectly into the work.56 “In this work, Michael Conway Baker has taken my verbal memories and impressions and transcribed them into music. In my interpretation of what Michael has written, he first depicts the early, lonely and hard times of new immigrants and [gives] a sense of the vastness of the prairie landscape and sky.”57

Table 3.1. Michael Conway Baker’s Works for Solo Horn and Piano Works for Solo Horn and Piano

Cantilena, op. 46

Cappriccio for Solo and Piano/Orchestra

Colours of Space for Horn and Piano/String Orchestra

Remembrances for Horn and Piano, op. 130

Baker’s works for small chamber music featuring the horn are limited in this study to music for nine instrumentalists. Baker makes use of a variety of unorthodox instrumentations in his compositions for woodwind quintet including his work À Gabriel Fauré: in Memorium that is written for string quintet with added woodwinds, including flute, , clarinet and horn. Comparatively, Music for Six Players is composed for wind quintet and . While Baker wrote Mirage for the traditional oboe, horn and piano trio, he later transcribed it for or in place of the oboe in order to expand its performance opportunities. One of Baker’s more diverse instrumentations in his chamber works for horn is his Baroque Diversions, op. 56, which is composed for sting quintet and flute, oboe, horn and trumpet.

54 Michael Conway Baker, interview by author, electronic mail, June 15, 2016. 55 Ibid. 56 Ibid. 57 Ibid. 15 Table 3.2. Michael Conway Baker’s Chamber Works for Horn, up to Nine Instrumentalists

Works for Horn, up to Nine Instrumentalists

À Gabriel Fauré: in Memorium

Mirage for Oboe, Horn and Piano

Mirage for Violin, Horn and Piano

Mirage for Trumpet, Horn and Organ

Baroque Diversions, op. 56 Colours of Space, op. 95 Four Views from a Nursery Tune Interlude and Divertimento for Wind Quintet

Music for Six Players

Scherzo for Trumpet and Organ

Roman March for Brass and Percussion

Fiesta Fanfare for Brass

Performer’s Guide to Colours of Space

The performer’s guides provide a brief outline of musical character, range, technical difficulties and formal structure of the representative works in order to help hornists to approach these composers’ works with a basic understanding of their musical and stylistic approaches. Michael Conway Baker’s piece Colours of Space is classified as both a solo and chamber work for horn; in its original version (1992), it is written with an orchestral accompaniment for chamber orchestra, piano and strings. This piece is included in the CMC catalogue for horn and piano, and Baker is in the process of finalizing the transcription at the time of this study. The work is composed for Canadian hornist Martin Hackleman, who is most known for his performances with the .

Musical Character

Colours of Space, as described by Baker, is written in an impressionistic style.58 As the title suggests, Colours of Space is about the development of tone color. From the first phrase,

58 Michael Conway Baker, interview by author, electronic mail, June, 15 2016. 16 both the piano and the strings hold sustained chords, and the solo horn builds layers of melody over the chords. The second theme completely takes over at mm. 27 with the contrast in dynamics from piano to fortissimo. Baker then makes use of stopped notes in transition back to the opening theme. This aids in creating a distant feel with the horn sounding like an echo prior to the return of the ‘distant’ piano marking indicated in the score.

Range

The range of Colours of Space remains just under two octaves, from b to c’’.59 This leaves the performance capability of the work open to players from the undergraduate to professional level. Players require great endurance capabilities in order to perform this piece, as it demands long, sustained playing in the upper register.

Technical Difficulties

From a technical standpoint, performers face such challenges as quick transitions between stopped and open notes and quick dynamic contrast as demonstrated in figure 3.1. The wide range of dynamics in this piece requires a technically mature performer.

Figure 3.1. Baker, M. Colours of Space, mm. 59-68

Formal Structure

As the work builds, two contrasting themes repeat, with the primary ethereal thematic material echoed by the driving fortissimo rhythmic theme. The first theme creates a spacious

59 “Author Guidelines,” International Horn Society, accessed June 24, 2016, http://www.hornsociety.org/publications/horn-call/author-guidelines. 17 texture with its long rhythmic values and continuous ties to the next measure which, according to Baker, “hopefully evokes images associated with the universe.” The secondary driving theme, which is shown in figure 3.2, maintains the idea of space with the continued ties interjected by faster rhythmic values. The work concludes with a brief coda, which hints towards the primary theme with exaggerated, elongated note values and a gradual diminuendo to pianissimo. This twentieth-century work is nine-and-a half minutes in length. It is a useful addition to any recital program as it is written in a neoromantic style and is tonal. There are no current recordings available of this work.

Figure 3.2. Baker, M. Colours of Space, mm. 24-32

Promotion of Works

According to Michael Conway Baker, “the greatest way to improve the distribution of Canadian music nationally and in countries outside of Canada is to get the music in the hands of the performers.”60 Baker continues to improve the distribution of his music by offering PDF copies of his compositions for educational purposes directly to musicians at no cost. The Canadian Music Centre also aids in the distribution of Baker’s works across Canada and abroad through library catalogue loans. Both Baker and the CMC make a disclaimer noting that the purchase of original copies is required prior to performances. The scores distributed for rental are for the purpose of study in order to generate interest in contemporary Canadian composers’ works prior to purchase. The Canadian Broadcasting Corporation also continues to support the dissemination of Baker’s works—including recordings—through the commission and broadcast of almost all of his 168 concert pieces. The CBC Radio’s recording of his The Music of

60 Michael Conway Baker, interview by author, electronic mail, June 15, 2016. 18 Michael Conway Baker won a JUNO award for his Concerto for Piano and Orchestra.61 The CBC also makes use of Baker’s work Vancouver Variations as theme music for a morning show which, through repetitive public broadcasts, has built an affinity across the country toward Baker’s writing style. The CBC, the Canadian Music Centre and the Canada Council for the Arts, support Baker through the funding for commissions of his works. Commissions encourage professional performances on national and international stages, which aid in the promotion of his works. The premiere of Colours of Space was performed by Marty Hackleman at the International Horn Conference in 1994. More recently, the Principal Horn of the Los Angeles Philharmonic, Andrew Bain, performed Baker’s Remembrances at the Southeast Horn Conference in Nashville, TN this year (2016). Such performances by world-class horn players, including Brian G’froerer and Marty Hackleman, encourage student interest through the increased exposure of the works to the horn world.

61 Michael Conway Baker, interview by author, electronic mail, June 15, 2016.

19 CHAPTER 4

MALCOLM FORSYTH

Composer Biography

Canadian composer Malcolm Forsyth was born in 1936, and passed away from complications of pancreatic cancer in 2011. Originally from South Africa, he became a naturalized Canadian in 1974.62 Forsyth completed his schooling in South Africa studying trombone, and composition at the University of Cape Town. In 1964, he debuted as a conductor with the Cape Town Symphony in its performance of two of his pieces, Overture Erewhon and the Jubilee Overture.63 When Forsyth came to Canada, he continued to teach in the public school system, while maintaining a freelance career as a trombonist in Toronto. In 1968, he moved to for a job performing with the Symphony, which he held for eleven years.64 While there, he also worked at the , teaching theory, composition and conducting.65 Throughout his career, Forsyth composed over 140 works, many of which were commissions for professional orchestras and chamber groups and have been performed widely throughout Canada.66 In an interview on Forsyth’s music, David Hoyt, former Principal Horn of the Edmonton Symphony and a colleague of Forsyth, states that the way in which Forsyth appeals to his audience is through the “care [he took] to understand what each instrument could do . . . he checked his ideas with players, and was open to suggestions as to how to make his music more idiomatic.”67 This idiomatic style of writing produces positive results, allowing his pieces to sound technical to the audience, while requiring moderate work to achieve fluid lines for players at most skill levels. This style of composition, therefore, allows for further performance opportunities of his compositions.

62 Barclay McMillan and King, “Malcolm Forsyth,” in The Canadian Encyclopedia, edited June 30, 2015, accessed July 13, 2016, http://www.thecanadianencyclopedia.com/en/article/malcolm-forsyth/. 63 Malcolm Forsyth, “About Malcolm Forsyth,” accessed July 16, 2016. http://malcolmforsythcomposer.ca. 64 Robert Everett-Green, “Malcolm Forsyth was one of Canada’s most loved composers,” , August 03, 2011, accessed July 10, 2016, http://www.theglobeandmail.com/news/national/malcolm-forsyth- was-one-of--most-loved-composers/article58924. 65 Malcolm Forsyth, “About Malcolm Forsyth.” 66 Robert Everett-Green, “Malcolm Forsyth was one of Canada’s most loved composers.” 67 Ibid. 20 Forsyth’s compositional style, as described by the 2012 documentary Canadian Composer Portraits, is about the replication of models. Completing his studies exclusively in South Africa, Forsyth studied the art of composition by emulating Debussy’s preludes. Forsyth’s style parallels Debussy’s in the seamless movement between tonal centers.68 Forsyth also comments in the same documentary that the way in which he contributes to Canadian music is through his view as an outsider; he states that, in order to write on , he must celebrate the country as a whole. “I honestly can’t tell you what is specifically Canadian. But I am writing music which will be identified by later generations as Canadian music.”69 Since the Confederation of the country in 1867, Canadians have searched for a markedly Canadian style and culture of music. Over the years, there has been some consensus that Canada’s geographical regions—and the artistic endeavors made to depict them—have influenced cultural identity.70 In comparison, European composers from the early 1900s, including Béla Bartók and Vaughan Williams, referenced folk of their home countries. This focus on cultural music indigenous to Canada was not evident in Canadian music until the mid 1920s.71 Canadian composers of the time agreed, “a work need not quote or use directly in order to be distinctively Canadian.”72 When Forsyth first arrived in Canada from South Africa, he began a period of writing that was “heavily attuned to and dancing, especially that of indigenous peoples of Africa (particularly the Zulu).” 73 Forsyth then transitioned into a Canadian nationalistic style, noting that he chose to depict Canada as his new homeland by referencing Canadian experiences, imagery and sounds in his compositions. “My Atayoskewin, Suite for Orchestra is for me a piece of Canadian landscape . . . I celebrate [Canada] in whatever way I can; I live here, and I contribute to Canadian music, and not to South African music.”74

68 Eitan Cornfield, Canadian Composer Portraits; Malcolm Forsyth, (Toronto: Centrediscs, 2002), track 6, accessed July 17, 2016, https://open.spotify.com/album/6sdCRq0llQBBsFYhso1xgM. 69 Ibid. 70 George A. Proctor, Canadian Music of the Twentieth Century, (Toronto: University of Toronto Press, 1980) 18. 71 Ibid, 19. 72 Leo-Pol Morin, ‘Pour une musique canadienne,’ Canadian Forum, 8 (July 1928), 713-14. 73 National Arts Centre, “Malcolm Forsyth” Great Composers, accessed October 16, 2016, http://artsalive.ca/collections/nacmusicbox/en/#!/index.php?pageid=bios/ForsyM. 74 Cornfield, Eitan. Canadian Composer Portraits; Malcolm Forsyth. Toronto: Centrediscs, 2002. https://open.spotify.com/album/6sdCRq0llQBBsFYhso1xgM (accessed July 17, 2016). 21 It is in this way that Malcolm Forsyth’s works grew to be a prime example of nationalistic compositions for Canada. The Atayoskewin (Suite for Orchestra), as described on Forsyth’s personal website, is “a powerful portrayal of Canada’s North.” 75 The title translates to the meaning ‘sacred legend’ in the Cree language;76 the Cree make up a significant portion of the groups in Canada. The success of this work earned Forsyth one of his three JUNO awards for Best Classical Composition in 1987.77 Forsyth’s final work, Ballad of Canada, for and orchestra also makes use of Canadian nationalistic writing by incorporating five Canadian poems. It is formatted in the style of a tone poem that creates a progressive story built around the poetry.78 Canadian Ralph Gustafson’s poem “In the ” is included in this work “for its evocation of the Northern Lights, emphasiz[ing] the intrepid salmon’s ‘leap for dying.’”79 The other poems included, “In Flanders Fields” by John McCrae, and Carl Hare’s poem “On the Waverly Road Bridge,” are written about Canada’s experiences with war, including World War I and the more recent war in Afghanistan.80

Table 4.1. Malcolm Forsyth’s Works for Solo Horn and Piano Works for Solo Horn and Piano

Dreams, Drones & Drolleries

Fanfare and Three Masquerades

Eclectic Suite (Pop’s Cycle)

Of his solo compositions originally written for horn, Dreams, Drones, & Drolleries has become one of Forsyth’s most popular horn works throughout Canada. The inclusion of this work in the Brass Syllabus for the Royal Conservatory, (ARCT) level, encourages its performance in universities across the country. The ARCT diploma is considered to be the

75 Malcolm Forsyth, “About Malcolm Forsyth,” accessed July 16, 2016. http://malcolmforsythcomposer.ca. 76 National Arts Centre, “Malcolm Forsyth.” 77 Ibid. 78 Bill Rankin, “Concert Review: A Ballad of Canada's meditation on mortality,” The Globe and Mail, November 13, 2011, updated September 10, 2012, accessed June 17, 2016, http://www.theglobeandmail.com/arts/music/a-ballad-of-canadas-meditation-on-mortality/article630016/. 79 Rankin, “Concert Review: A Ballad of Canada's meditation on mortality.” 80 “News and Press,” Royal Philharmonic Orchestra, last modified October 28, 2014, accessed August 4, 2016, http://www.rpo.co.uk/about/news-press/95-press/72-rpo-national-arts-centre-orchestra-zukerman-royal- festival-hall. 22 highest academic standing issued by The Royal Conservatory of Music; is recognized around the world as an official teaching qualification.81 Forsyth, “known for the high quality of his original works for orchestra and his pieces for brass ensemble,” composed twelve brass quartets and quintets during his career along with one quintet for brass and organ.82 His other chamber works for horn include a duet for two horns and piano (Andante from Sagittarius), a trio for trumpet and two horns (Bachianas Capensis), an octet for six trombones and two horns (Solemn Intrada), a quartet for horns (Quartet 61 for Horn Quartet) and a solo for horn and marimba (Mirrors for Horn and Marimba). He also wrote a few varied combinations of wind and string quintets including one wind quintet (Quintette for Winds(or…) for Wind Quintet), a sextet (Suite for Haydn’s Band), and a nonet for five strings with doubled horns and (Sketches from Natal). Forsyth’s repertoire is slowly gaining an international reputation via the recording and performance of his works by the Canadian Brass. His brass quintet Golyardes Grounde is included in the Canadian Brass repertoire and has been recorded on two CDs including Legends and Canadian Brass in Paris. This piece has also been recorded by the Melbourne Brass Ensemble and, according to the WorldCat library catalogue, the score is available for loan in over forty-three American university and public libraries. Forsyth was honored with many awards throughout his career, including Canadian Composer of the Year in 1989, three JUNO awards, and The Canadian Music Council Composer of the Year, award in 1988. He was installed as a Member of the Order of Canada in 2003 and received the Queen’s Jubilee Medal in the same year.

Table 4.2. Malcolm Forsyth’s Chamber Works for Horn, up to Nine Instrumentalists

Works for Horn, up to Nine Instrumentalists

Andante from Sagittarius

Aphorisms for Brass

Bachianas Capensis

Choros, Typico no. 1 (Villa-Lobos)

81 The Royal Conservatory of Music, Brass Syllabus (Toronto: The Frederick Harris Music Co., Ltd., 2003), 68. 82Association of Canadian Choral Communities, “Loss of a Brilliant Composer Malcolm Forsyth (1936- 2011),” accessed June 1, 2016, http://www.choralcanada.org/loss-of-a-brilliant-composer-malcolm-forsyth-1936--- 2011/. 23 Table 4.2. - continued Works for Horn, up to Nine Instrumentalists

Concerto for 8 El Brazz! Fanfare Farinellis Folly Five Fanfares Intrada Olympiada Golyardes Grounde for Brass Quintet Mirrors for Horn and Marimba Pfefferfanfar fer Pfeiffers Quartet 61 for Horn Quartet Quintette for Winds(or…) for Wind Quintet Renaissance Dance River Spirit Saltarello Sketches from Natal Solemn Intrada Suite for Haydn’s Band Toccata Triangles Zephyrus

Performer’s Guide to Eclectic Suite (Pop’s Cycle)

Malcolm Forsyth’s work Eclectic Suite (Pop’s Cycle) was originally composed in 1984 for Forsyth’s daughter and professional cellist, Amanda. Forsyth transcribed the work in 2009 after a request from Canadian hornist Jeff Nelsen for premiere at the 41st International Horn Society Workshop at Western Illinois University. The preliminary title for this work, Pop’s Cycle, is a play on words referencing Forsyth’s daughter’s childhood. Upon publication, the publisher suggested a change of title in order to promote better sales and add an air of professionalism to the work, which led to the title Eclectic Suite.83

83 Amanda Forsyth and Angela Cheng, In Concert. Sound Recording Archive, (Edmonton: Canadian Music Centre, September 4, 2012), https://www.musiccentre.ca/centrestreams/swf?mode=play_by&opt=id&id=66736. 24 Musical Character

The Eclectic Suite is written in three movements entitled “Potpourri,” “ of Light,” and “Ripsnorter Finale.” Prior to an online recorded performance of Eclectic Suite on the CMC website, Amanda Forsyth speaks about the work which her father wrote for her as a child. Amanda states that her father wrote the piece in order for her to learn the capabilities of the cello in all styles of music. “The first movement, “Potpourri,” is a mishmash obviously of things, but is my father’s attempt to teach me how to play jazz.”84 The jazz-like rhythms weave between the piano and horn lines, requiring clear coordination of parts. The second movement, entitled “Song of Light,” is cadenza-like and lyrical in nature. Forsyth “later told [Amanda] that it was his impression of [her] personality when she was younger.” The final movement, “Ripsnorter Finale,” demonstrates a variety of musical styles including Spanish references with echoes of a bullfight and excerpts of Stravinsky’s Symphony in Three Movements.85 With the overlap of varying styles, the work as a whole is an example of the “full spectrum of [her] dad’s hilarity,”86 as is indicated in the title Eclectic Suite.

Range

The overall range of the Eclectic Suite is F to c#’’’. In the first movement, the horn begins in a comfortable range, remaining in the staff of the treble clef. Figure 4.1 illustrates that, as the work develops, the hornist is required to leap quickly between registers. In this example, the hornist is expected to play from a’’ above the staff to c# in the bass clef and, after four measures, leap down to A. Forsyth then alternates the horn between the treble and bass clef a measure at a time. The wide range and quick transitions between registers require a high level of accuracy and flexibility from the hornist. Prior to the recapitulation, Forsyth requires the hornist to flutter tongue upward from f#’’ until c#’’’. This is an extended technique for horn players of all levels. In the second movement, Forsyth creates a fluid musical line with smoother register shifts while still requiring an extended range from A to c’’’. By the end of the third and final movement, the range extends from d to c’’’.

84 Amanda Forsyth and Angela Cheng, In Concert, CBC Radio2. 85Carey Cheney, Solos for Young Cellists Cello Part and Piano Acc., Vol 6: Selections from the Cello Repertoire, (Alfred: Van Nuys, CA), 34. 86 Ibid. 25

Figure 4.1. Forsyth, M. Eclectic Suite I, mm. 17-23 Reproduced by permission of the copyright holder, Counterpoint Music Library Services

From the beginning of the third movement through the coda, horn solo remains in the treble clef. The accelerated rhythmic values which lead into the coda push upward to a victorious, climatic octave c’’ to c’’’ glissando which is demonstrated in figure 4.2.

Figure 4.2. Forsyth, M. Eclectic Suite III, mm. 227-233 Reproduced by permission of the copyright holder, Counterpoint Music Library Services

Technical Demands

The musical style of Forsyth’s Eclectic Suite is energetic and fun. In its transcription for horn, the work gains substantial technical challenges. These challenges include quick intervallic leaps and fast rhythmic passages that are less idiomatic when transferred to the horn. The Eclectic Suite also requires extreme range abilities from the horn player while offering minimal rest. Throughout the piece, the hornist must achieve clear articulation and smooth transitions between registers in order to maintain a cello-like disposition. Due to these challenges in the horn transcription, this work falls into the category of professional solo horn literature.

Formal Outline

The first movement, entitled “Potpourri,” opens with a horn melody reminiscent of a daydream. As shown in figure 4.3, this is achieved through the sustained chords as the first note 26 of each phrase, followed by meandering eighth-note and sixteenth-note patterns which are repeated in two-measure phrases. This rhythmic motif creates a feeling of rubato throughout, similar to that of a cadenza. In contrast to the freedom of the horn line, the piano accompaniment remains in straight eighth notes from the beginning of the movement, which perpetuate a march- like rhythm underneath.

Figure 4.3. Forsyth, M. Eclectic Suite I, mm. 1-7 Reproduced by permission of the copyright holder, Counterpoint Music Library Services

Figure 4.4. Forsyth, M. Eclectic Suite I, mm. 54-59 Reproduced by permission of the copyright holder, Counterpoint Music Library Services

After the initial theme, a transition occurs with the horn leaping between the treble clef and bass clef every few measures. Where the horn appears in the bass clef, the original cello line is plucked as a bass line accompaniment. This translates to a light staccato on the horn. With the horn playing an accompanimental figure the piano takes over the melody. The theme develops in mm. 25 with the piano accompaniment in syncopated eighth notes that creates a jazz feel. The horn melody starts slowly, gradually accelerating the rhythmic values.

27 The primary theme is restated in mm. 55, this time with the piano returning to the melodic line. The horn takes over the accompanimental staccato figures, as demonstrated in figure 4.4. By the second half of mm. 59, the horn returns to the melody. The structure of the first movement is a modified sonata form with an opening theme that transitions to a secondary melody. The development follows with the breakdown of the two themes. The return of the original theme in the recapitulation is varied slightly, with the horn playing the accompaniment and the piano playing the final iteration of the theme. Movement two, entitled “Song of Light,” opens with eight measures of piano interlude setting the tone with rolling eighth notes that blend together from the use of the sustain pedal. The horn entrance is layered on top as the piano continues the rolling countermelody. The entire movement maintains a simple yet lyrical melody, fluidly moving either by step or by broken arpeggiated figures to the end. This movement is strophic, as the main theme returns repeatedly throughout without further development. The final movement, entitled “Ripsnorter Finale,” indicates a subtitle directing the hornist to play in a manner that is ‘full-blooded, tongue-in-cheek.’ This character is evident in the incessant horn melody and in the piano, which perpetuates the forward motion with the repeated eighth notes. Figure 4.5 identifies the quick style changes that are required, from a Spanish theme reminiscent of a bullfight, to a quote of Stravinsky’s 1945 syncopation.

Figure 4.5. Forsyth, M. Eclectic Suite III, mm. 151-158 Reproduced by permission of the copyright holder, Counterpoint Music Library Services

The opening melody returns in mm. 167 and continues to the coda at mm. 198. The entire work concludes with a triumphant run of sixteenth notes followed by an octave glissando from c’’ to c’’’. Despite the newfound technical challenges in its transcription from the original

28 composition for cello, the hornist must create a feeling of ease in his/her performance. The layers of character changes culminate in the final movement. The “Ripsnorter Finale” is reminiscent of a theme and variation with a new character for each reiteration of the opening theme. This is demonstrated through a menagerie of themes written to educate the performer on varying styles. The styles throughout the work are in imitation of jazz, rock, Bach’s Cello Suites, Latin American music and Stravinsky’s Symphony in Three Movements.87 The work in its entirety is twelve minutes. With a variety of character changes between movements, the Eclectic Suite adds both lyricism and humor to any performance. To this date, only recordings of the original work for cello are available.

Promotion of Works

Malcolm Forsyth worked throughout his career to promote the both across the nation and its borders. For his efforts, he continues to gain international recognition as one of Canada’s leading composers. He personally encouraged the promotion of Canadian music worldwide through his JUNO award-winning scores, including Atayoskewin (Suite for Orchestra) in 1987, Sketches from Natal in 1995 and Electra Rising in 1998.88 Having won a JUNO for Classical Composition of the Year three times, Forsyth is one of only three Canadian composers to have done so; and R. Murray Schafer are the others.89 Forsyth created a lineage of Canadian composers from Alberta through his students, including current teachers of composition, and , creating a continuous lineage of Canadian composers that are dispersed across Canada. Due to his teaching, Forsyth’s compositional style with a nationalistic focus is “infiltrating the country with a wider sound world.”90 His dedicated work in education and composition has helped guide the next generation of Canadian composers.

87Amanda Forsyth, liner notes to Cello Music (Soaring with Agamemnon), Amanda Forsyth and Peter Longworth, Marquis Classics MAR-231, CD, 1998. 88 Ibid. 89 Choral Canada, “Loss of a Brilliant Composer Malcolm Forsyth (1936-2011).” 90 Theresa Wynnyk, Conquering Beauty: The Life and Music of Malcolm Forsyth, Documentary, (Edmonton: Company of Women on the Screen Inc., August 1, 2015). http://www.cbc.ca/news/canada/absolutelycanadian/conquering-beauty-the-life-and-music-of-malcolm-forsyth- 1.3614634. 29 The Counterpoint Music Library, which retains Forsyth’s repertoire for publication, rental, and purchase, is the primary distributor of his works around the world. The Canadian Music Centre also aids in the rental of Forsyth’s compositions, and funding of commissions to support the creation of new works. For example, in 1981 the CMC aided in the commission of Forsyth’s Dreams Drones and Drolleries for Canadian hornist and student of Forsyth, Margaret Bunkall.91 Bunkall and Janet Scott-Hoyt premiered the piece the same year at the Banff Centre in Banff, Alberta, Canada.92 In 1997, John Zirbel, Principal Horn of the Symphony Orchestra, performed it at the International Horn Society Workshop at the Eastman School of Music. The Canadian Broadcasting Corporation has promoted Forsyth’s works much like Baker, through the production of his recordings, live performances, and regular broadcasts of his works. Due to the work of the CBC, between 1997 and 2008, several of Forsyth’s works were recorded, including a promotional compilation of his compositions. His compilation, entitled Electra Rising: Music of Malcolm Forsyth, as well as a recording of his work Sun Songs with the CBC Vancouver Orchestra, and a CBC commission entitled Preludio e Fuga sul nome di Glenn Gould, have all been heard over the CBC airways, contributing to the Canadian content requirements.93 To further promote the knowledge of Forsyth’s music, his daughter Amanda maintains an international touring schedule, performing the pieces her father wrote for her—in particular, his cello concerto Electra Rising.94 Amanda’s performances continue to be a major source of promotion of Forsyth’s works worldwide, as audiences hear Forsyth’s music live. Despite these efforts, Forsyth’s horn repertoire lacks the success of some of his other works. In order to better the dissemination of this literature, continued performances along with documents highlighting his works are imperative.

91 “Dreams, Drones and Drolleries,” Canadian Music Centre: Malcolm Forsyth, accessed June 10, 2016, https://www.musiccentre.ca/node/18358. 92 “Dreams, Drones and Drolleries,” Canadian Music Centre. 93 “Malcolm Forsyth,” Artists-CBC Music, accessed May 4, 2016, http://artists.cbcmusic.ca/artist/39850. 94 Ibid. 30 CHAPTER 5

ELIZABETH RAUM

Composer Biography

Born in New Hampshire in 1945, Elizabeth Raum became a naturalized Canadian in 1985 after the completion of her master’s degree in Regina, Saskatchewan. She began her studies at the Eastman School, earning both her bachelor’s degree and Performer’s Certificate in oboe. Raum moved to Canada at the age of twenty-three upon winning the position of Principal Oboe with both the Atlantic Symphony and the Charlottetown Festival Orchestra in , Canada.95 Raum also performed regularly with the Regina Symphony, winning the principal position in 1986. During her time in Saskatchewan, she began composing seriously at the University of Regina under Thomas Schudel.96 Raum began composition as a hobby when she was a young child. She imitated her mother by writing to perform with her sister.97 Raum’s compositional career began with a project in 1985, funded by a Senior Arts Grant from the Saskatchewan Arts Board, for which she wrote an original score for video entitled Evolution: A Theme with Variations that “spans musical styles from renaissance to modern.”98 Her compositions grew in popularity due to the recognition of her melodies. In fact, according to the Canadian Music Centre, Raum is known today as “one of Canada's most ‘accessible’ composers, writing for varied mediums and in remarkably diverse styles.”99 Raum’s influence of compositional styles is inspired by composers who also focus on clear tonal centers within their composition, all of whom are experts at orchestrating, from Bach and Brahms to Shostakovich and Prokofiev.100 Raum also notes honestly that, despite criticism and even having founded two ‘new-music’ groups, she simply

95 Kevin Bazzana, “Elizabeth Raum,” The Canadian Encyclopedia, last modified November 13, 2014, accessed July 7, 2016, http://www.thecanadianencyclopedia.ca/en/article/elizabeth-raum- emc/index.cfm?PgNm=TCE&Params=U1ARTU0003252. 96 Ibid. 97 David Green, “Elizabeth (Betsy) Raum: ‘A Find for Tuba Players,’” TUBA Journal 26, no. 4 (Summer 1999): 35. 98 Kevin Bazzana, “Elizabeth Raum.” 99 Elizabeth Raum- Biography,” Canadian Music Centre Composer Showcase, accessed June 4, 2016, https://www.musiccentre.ca/node/37282/biography. 100 Elizabeth Raum, interview by author, electronic mail, 16 June 2016. 31 prefers tonally centered works. In her interview for the TUBA Journal, Raum notes that the contemporary repertoire “all sounds the same—mostly angry, and with impossible rhythms that might work in theory but [leave] no room for a human playing an instrument.” 101 Raum focuses on a stylistic form of writing rather than true theoretical form. For example, her Olmutz Concerto for Alto Trombone is written as an imitation of a Classical Concerto. Raum explains in the program notes for the work that this is achieved through “thematic incipits, two measures in length, of three early classical trombone concertos” that are from the library of the Bishop of Olmutz. “The movements are monothematic but are rigorously developed in the traditional classical style,” based on the quoted incipit.102 In the composition of her work Sherwood Legend, Raum identifies that the goal was to imitate the energy and character of film music in honor of the premier hornist, Kurt Kellan’s father, who performed in movie orchestras. This focus on character in the writing of this work led to the creation of a form similar to that of a tone poem.103 Raum receives regular commissions from the CBC and the Canadian Music Centre as well as numerous Canadian orchestras, including the Philharmonic and the Thunder Bay Symphony Orchestra.104 Over the years, she has been asked to write in a variety of styles and instrumentations. As of 2005, she has composed more than fifty chamber works, at least eight concerti, three , and a large number of orchestral and choral works.105 Through the compositional process of her commissions, Raum is inspired directly by the musicians themselves. Raum notes that she prefers to know the musician for whom she is writing.106 She elaborates in her interview with David Green in the TUBA Journal that she has “trouble writing unless [she] hears that person and understands the way he plays and senses his personality.”107 Many of Raum’s compositions are written and arranged for either trombone or low brass,

101 Green, “Elizabeth (Betsy) Raum: ‘A Find for Tuba Players,’” 35. 102 Elizabeth Raum, Olmutz Concerto, by Elizabeth Raum (Switzerland: Editions BIM, 1994), http://www.hickeys.com/music/brass/trombone/alto_trombone/alto_wpiano/products/sku033339-raum-olmutz- concerto-1994.php. 103 Elizabeth Raum, interview by author, electronic mail, June 16, 2016. 104 Kevin Bazzana, “Elizabeth Raum.” 105 World Association for Symphonic Bands and Ensembles, “One Hundred Years of Fanfares,” WASBE Repertoire Details, last modified 2002, accessed July 16, 2016, http://www.wasbe.org/repertoire- details.php?id=152. 106 Elizabeth Raum, interview by author, electronic mail, June 16, 2016. 107 Green, “Elizabeth (Betsy) Raum: ‘A Find for Tuba Players,’” 36. 32 inspired by her husband Richard Raum, former Principal Trombonist of the Regina Symphony.108 Raum’s focus on arrangements of her own works is a current trend in her writing, which allows for her compositions to be played by a variety of instrumentations. Requests for transcriptions benefit both the performer and the composer, as multiple performances of one work promote each composer through the greater exposure of his/her music. As an example, many have requested a transcription of Raum’s Bushwakker Brewpub for instruments in interchangeable combinations, including trumpet, horn, and piano; clarinet, horn, and piano; and clarinet, trumpet, and piano. The Bushwakker Brewpub serves as a commentary on the pub of its namesake in Saskatchewan, Canada. The piece “conjures up a variety of images; each movement of the suite is named after one of the beers brewed and served at the Bushwakker Brewpub.”109 Raum also composed a number of small chamber and solo works for horn beginning with Idiom for unaccompanied horn. After working in the Atlantic Symphony in Halifax, Nova Scotia with Phil Meyers (current Principal Horn of the New York Philharmonic), Raum wrote Idiom specifically for him. A few years later, Raum was asked by friend and hornist Kurt Kellan, former Principal Horn in the Calgary Philharmonic, to arrange her Fantasy for Trombone for horn. Kellan later worked with the Calgary Philharmonic in commissioning Sherwood Legend for horn and orchestra. Most recently, Raum’s Romance for Horn and Piano has been re- arranged, from her original work for tuba to a horn version for Kurt Kellan.

Table 5.1. Elizabeth Raum’s Works for Solo Horn and Piano

Works for Solo Horn and Piano

Fantasy for French Horn

Romance for French Horn and Piano/Orchestra (1992)

Romance for French Horn (2000)

Sherwood Legend

108 Kevin Bazzana, “Elizabeth Raum.” 109Jennifer Marotta and Sandra Coffin, “Balton Chamber Brass,” Noteworthy 22, no. 2 (Fall 2015): 1-11, accessed July 16, 2016, http://static1.squarespace.com/static/52b4a911e4b0737f50341d1e/t/563b282be4b0ada51f236aa3/1446717483020/I WBC_newsletterFall2015.pdf. 33 Table 5.2. Elizabeth Raum’s Chamber Works for Horn, up to Nine Instrumentalists

Works for Horn, up to Nine Instrumentalists Bushwakker Brewpub for Clarinet, Horn and Piano Bushwakker Brewpub for Trumpet, Horn and Piano Bushwakker Six Pack Canterbury Ayre for Wind Quintet

Canzoni di Natale for Violin, Organ, Trumpet, Horn and Trombone

Carmen, the Passion for Wind Octet

Color Code for Horn, Tuba and Piano

Festival Fanfare for Brass Quintet Idiom for Solo Horn

The International Suite for 2 Horns, 2 , 2 Oboes, 2 Bassoons

King Lear Fantasy for Wind Quintet Pantheon for Horn, Violin and Piano Quartet for Horns Quintet for Brass Relationships for Horn, Bass Trombone and Tuba Sextet for Wind Quintet and Piano Suite for Woodwind Quintet

Kellan’s chamber commissions from Raum include the Quartet for Horns written in 1998 and the Bushwakker Brewpub in its original instrumentation for horn, clarinet, and piano (1992). Raum notes that Kellan’s extensive requests for arrangements and commissions inspires her extensive output of music for horn, just as tubist John Griffiths’ relationship with her inspires her repertoire for tuba.110 Raum’s focus in chamber music for horn relies heavily on the woodwind and brass ensembles, due to many of these works originating as commissions for area ensembles in Saskatchewan, where she first began composing.111 Raum’s wind works to this date include three wind quintets, two wind sextets, and two trios for clarinet, horn and piano. She has also written two brass quintets, an arrangement of the Bushwakker Brewpub for Trumpet, Horn and

110 Green, “Elizabeth (Betsy) Raum: ‘A Find for Tuba Players,’” 36. 111 Elizabeth Raum, interview by author, electronic mail, June 16, 2016. 34 Piano, a quintet for brass, organ and violin (Canzoni di Natale for Violin, Organ, Trumpet, Horn and Trombone); a trio for horn, violin and piano (Pantheon); and two brass trios including one for horn, tuba, and piano (Color Code); and one for horn, bass trombone and tuba (Relationships for French Horn). Raum has received numerous awards for her works, including the Canadian Composer Award from the Canadian Band Association, and Best Classical Composition for the Western Canadian Music Awards. Raum was also given the honor of the Saskatchewan Order of Merit.112 Her most prestigious awards to this date include the Canada 125th Commemorative Medal in 1992, and the Commemorative Medal for the Centennial of Saskatchewan in 2005.”113

Performer’s Guide to Fantasy for French Horn

Elizabeth Raum originally composed the Fantasy for French Horn in 1981 for her husband Richard, and transcribed it for horn four years later. The transcription for horn was another request by then-Principal Horn of the Calgary Philharmonic, Kurt Kellan. The publisher of the original work for trombone and piano, Warwick, also published the arrangement.

Musical Character

The musical style of Fantasy for French Horn is tonal in nature with the horn line meandering over the accompanimental piano. The middle theme beginning in mm. 38 is lullaby- like with the marking ‘tranquillo’ in the score until the return of the main theme in mm. 57. From the beginning, this piece is written in the time signature of three-quarter time. In contrast, the horn part is written with dotted-quarter notes and groups of three eighths, which creates a feel of six-eight time. As demonstrated in figure 5.1, in mm. 75, the change to common time stops the movement of the melodic line, creating the feel of a stricter rhythm. With the addition of slurs and ties over multiple measures, Raum regains movement in the melody as quickly as it stopped. In the return of the three-quarter time, she restates the main theme at mm. 117.

112 “Members- Elizabeth Raum,” Association of Canadian Women Composers, last modified May 6, 2016, accessed July 12, 2016, https://acwc.ca/members/elizabeth-raum/. 113 “Seven Recipients to Receive Saskatchewan’s Highest Honour,” Government of Saskatchewan, last modified October 20, 2010, accessed June 15, 2016, https://www.saskatchewan.ca/government/news-and- media/2010/october/20/seven-recipients-to-receive-saskatchewans-highest-honour. 35

Figure 5.1. Raum, E. Fantasy for French Horn, mm. 75-81

Range

The range of the work is c to g#’’, allowing for ease of performance at most levels. With a comfortable range, the Fantasy for French Horn is a good addition to any recital, as it demonstrates both technique and lyricism in the horn part while not tiring the soloist.

Figure 5.2. Raum, E. Fantasy for French Horn, mm. 30-44

Technical Difficulties

The performer of this work must maintain flexibility and clarity of pitch in the low register, along with a clear resonant sound between all registers. The Fantasy does present some technical issues for the player, including varying rhythmic values, which change repeatedly throughout the piece. As demonstrated in figure 5.2, rhythmic alternation occurs quickly between triplets, eighth notes, dotted rhythms, and sixteenth notes. There are also some larger leaps, including ninths through twelfths, which require a high level of accuracy. From the opening, the piano and horn lines move exclusively in opposite directions, which creates the feel of a floating melody in the horn. At the ‘cadenza ad lib’ section (also demonstrated in figure 5.2) the horn is required to make use of rubato while maintaining the changes in rhythm. In contrast to the 36 opening, this is the first time that the piano plays sustained chords. This allows the horn to be the true soloist. Raum identifies the work as “of moderate difficulty, very melodic and romantic.”114 Other than rhythmic challenges, the work requires flexibility and intonation in the bass clef as well as a centered tone throughout the registers.

Formal Outline

The original program notes reveal Raum’s attempt at creating a formal outline of the work after its composition. Raum clearly states that although it was not written in a strict form, “you could make something up about the form as it's ABA, and the A part is the masculine theme, somewhat angst ridden as he is consumed with passion for the subject of the second theme, the feminine B theme.” 115 The outline of a formal structure does loosely follow the ABA pattern, which Raum downplays, with the opening six-eight theme followed by the development in the cadenza ad. lib at mm. 30. The reiteration of the primary theme returns to the six-eight feel prior to a brief coda, although there is no set program or form in her writing of this work. The timing of this piece is seven minutes, making it the perfect addition to recitals, concerts, and repertoire lists. To this date there are seven trombone CD recordings of the original work for trombone and none of this horn transcription.

Promotion of Works

Despite having been commissioned to write works both inside of Canada and outside its borders, Raum remains focused on the continued importance of promotion and dissemination of new works by Canadian composers. Raum comments in her interview that the use of YouTube and the Internet in general are the keys to the continued promotion of new Canadian works outside of Canada. She elaborates by stating that YouTube “is in the process of replacing institutions like the CBC.” According to Raum, in the past, the CBC was more prominent in broadcasting and recording her work, alluding to the CBC’s more recent decline in significant support to Canadian composers due to its reduced funding and focus away from new, serious classical works.116

114 Elizabeth Raum, interview by author, electronic mail, June 16, 2016. 115 Ibid. 116 Ibid. 37 From Raum’s perspective, there are not enough recorded and broadcast performances of contemporary Canadian works, despite the work of the CRTC. She believes that performers and composers could collaborate to gain more exposure online for their works; with the use of the Internet and YouTube creating a broader audience for the composers. Raum particularly cites the importance of the Internet’s ability to connect musicians and composers without the necessity of the two parties residing in the same location for performance opportunities. In this way, concerts are more accessible, more easily shared, and all involved are more directly connected. Raum notes that the Canadian Music Centre acts as more than just a distribution center for Canadian composers’ scores. She identifies a particular example of when the Canadian Children’s Opera Company approached the CMC for a repertoire recommendation. The CMC recommended a theatre piece for children written by Raum which, she notes in her interview, was chosen due to her increasing popularity at the time. “The more well known you are, the more likely you are to have people select your music.”117

117 Elizabeth Raum, interview by author, electronic mail, June 16, 2016. 38 CHAPTER 6

CONCLUSION

Since its Confederation in 1867, Canada has faced challenges to create a national musical identity separate from Britain. This inspired the need for resources to unite the country in its musical and artistic goals, particularly through the support of contemporary classical music. As a solution to this identity crisis, funding was created for the production and promotion of Canadian works, broadcast time minimums were placed on the broadcasting of Canadian repertoire, and libraries were enacted as classical music hubs across Canada. The Canadian Music Centre, Counterpoint Music Library, and AMICUS Library catalogues identify the majority of these works in Canada. The catalogues exist to promote new Canadian sheet music and score rentals that are available to be shipped worldwide. These loans encourage the reading of previously undiscovered Canadian repertoire prior to purchase. The broadcasting and recording of Canadian music by both the CBC Radio and CMC Centrediscs also supports the awareness of Canadian repertoire in making performances of the works available through online streaming resources and recordings for loan or purchase. A review of these libraries reveals a list of 205 Canadian works for solo horn and piano and small chamber music featuring the horn. This treatise identifies and highlights the three most prolific composers of horn repertoire: Michael Conway Baker, Malcolm Forsyth and Elizabeth Raum. A representative work for each was chosen for a performer’s guide; the three pieces include Colours of Space, Eclectic Suite, and Fantasy for French Horn. The information provided for each piece, including formal structure, technical demands, range and musical character serves to guide performers and educators toward the understanding of the composers’ writing styles. In the dissemination of these works, the composers make use of the implemented Canadian musical resources. To increase exposure, they make their works available for rental and purchase through the CMC, linking potential performers directly to new Canadian music. The CMC is a rich resource for the modern Canadian composer with its unwavering support which, in culmination, saves individual composers significant time and effort in the

39 dissemination process.118 Forsyth’s music is also available through the Counterpoint Music Library, while Baker’s music continues to be distributed through emailed PDF copies for educational purposes. Raum encourages posting recordings of her works on various websites to allow for greater accessibility and awareness around the world. Both Raum and Baker note that works of modern-day composers have gained more exposure through the talent of performing musicians and their support of these works. This document serves both as an educational and professional resource for horn players and educators who are in search of new Canadian works for solo horn and piano or small chamber music featuring the horn. With the identification of this repertoire, performers are linked with the composers and, by collaboration, the composers gain exposure to a larger audience, while the performers gain new literature. This increased exposure will encourage the addition of Canadian solo and small chamber music on repertoire lists for use on auditions and in competitions worldwide, ultimately broadening the dissemination of Canadian horn repertoire.

118 Elizabeth Raum, interview by author, electronic mail, June 16, 2016. 40 APPENDIX A

HUMAN SUBJECT RESEARCH CLEARANCE

Haltiwanger, Julie To: Maunula, Kiirsi Cc: Clendinning, Jane [email protected] Tues 04/19/ 2016 9:52 AM

Upon review, it has been determined that your protocol is an oral history, which in general, does not fit the definition of "research" pursuant to the federal regulations governing the protection of research subjects. Please be mindful that there may be other requirements such as releases, copyright issues, etc. that may impact your oral history endeavor, but are beyond the purview of this office.

41 APPENDIX B

HUMAN SUBJECT INTERVIEW QUESTIONNAIRE

1. How many works have you written for solo horn and piano/orchestra?

2. How many works have you written for horn and small chamber music (up to nine instrumentalists)?

3. Why do you choose to include the horn in so many of your works?

4. In general can you discuss your compositional process?

5. How would you classify the form of your work?

6. When arranging your own works for horn did you make any changes to better suit the horn?

7. What/Whom are your musical influences?

8. Which composers do you most relate to?

9. Why do you choose to focus on a tonal style of composition?

10. In your opinion how do the CMC and the CBC help to promote works in Canada?

11. What do you think it will take to continue to improve the distribution and performance of Canadian composer's works outside of Canada?

42 APPENDIX C

HUMAN SUBJECT INTERVIEW CONTRACT

Good Morning,

My name is Kiirsi Maunula and I am a doctoral student at Florida State University, originally from Canada. I am in the process of researching and writing my treatise/dissertation on the topic of Canadian solo horn repertoire. I have chosen to focus on 3 specific composers including you, who have written a majority of the repertoire for solo horn/piano and small chamber music including the horn. Within my document I would also like to include a summary of your works for horn as well as a brief performer’s guide to the style/structure of your work as well as a brief guide to the preparation of the work from the performer’s perspective.

If you have some time and would consider being interviewed briefly via email, phone, or Skype I would love to discuss the following questions with you at your leisure.

-Why do you include the horn in so many of your works? -What are your musical influences? -Which composers do you most relate to? -As a 20th/21st Century composer why do you choose to write in a more tonal style? -How does the CMC and SOCAN help to promote your works in Canada? -What you think it will take for Canadian composers to gain more recognition outside of Canada?

If you have any questions regarding this you can contact me, or my advising professor directly.

If you are willing to be interviewed briefly for this purpose, please consider this email as a consent form to allow for permission to quote your words both directly and in generalization.

In regards to your work please inform me as to what protocols I must follow in order to include brief excerpts within my document for educational purposes.

43 APPENDIX D

MICHAEL CONWAY BAKER CONSENT

As requested.

This is to give permission to Kiirsi Maunula to quote my words both directly and in generalization with regard to my work Colours of Space. The quotes may be in the form of foot notes or in an index.

Michael Conway Baker, O.B.C.

Penny and Michael Conway Baker 2440 Treetop Lane, North Vancouver, BC V7H 2K5 Phone: (604) 929-8732 website: http://www.michaelconwaybaker.com email: [email protected]

44 APPENDIX E

ELIZABETH RAUM CONSENT

This email gives permission to Kiirsi Maunula to quote my words both directly and in generalization as well as to use brief musical examples of my work Fantasy for French Horn for her document. I also give permission for her to record Fantasy for French Horn in order to obtain musical samples, or she can use the version for trombone that I sent.

Best wishes, Elizabeth

Elizabeth Raum 58 Wolfrey Ave. Toronto, Ont. M4K 1K8 Phone: 416-465-9212 www.elizabethraum.com

45 APPENDIX F

COUNTERPOINT MUSIC LIBRARY CONSENT

On Apr 4, 2016, at 1:08 PM, Jean-Marie Barker [email protected] wrote

You can use short examples in an academic paper with the following credit line: Reproduced by permission of the copyright holder, Counterpoint Music Library Services.

Jean-Marie Barker

46 APPENDIX G

MICHAEL CONWAY BAKER QUESTIONNAIRE RESPONSES

1. I have written 8 works for solo horn and piano/orchestra

2. I have written 7 works for small chamber ensembles

3. Why did I choose the horn? Mostly because of my association with horn players, many of whom have asked or commissioned pieces using the horn.

4. My compositional process? I begin with quite intense thoughts about the instrumentation. In the case of the horn, I like to consult with the player. I imagine the instrumentation and then try composing ideas which seem to me appropriate. The nature of the musical material is "inspired" by the qualities of the instrument (s).

5. The Colours of Space is an "impressionistic" work which, hopefully, evokes images associated with the Universe.

6. If I am arranging music written for other instruments I try to accommodate the technical difficulties associated with the horn.

7. I have been influenced mostly by composers whose style is mainly lyrical.

8. The composers who have had the greatest influence on me are Russian, Hungarian, Swiss (Frank Martin), Barber, Ravel, Jazz composers like Brubeck, etc.

9. I choose to write using tonality because this style offers the largest means of musical expression for me.

10. Both the CMC and the CBC have done much in the way of helping disseminate my music to musicians and the general public.

11. The greatest way to improve distribution of Canadian music, domestically and in countries outside of Canada, is to get the music into the hands of performers.

47 APPENDIX H

ELIZABETH RAUM QUESTIONNAIRE RESPONSES

1. How many works have you written for solo horn and piano/orchestra?

1.Romance for French Horn and Piano (or Romance for French Horn and Orchestra) (1992) 5 minutes. This piece was commissioned by the Concours de Musique du Canada as the test piece for French Horn.

2. Fantasy for French Horn and Piano (1985) 7 min. This piece was originally for trombone and piano but on the request of hornist, Kurt Kellan, it was transcribed for horn and piano. It is published by Warwick.

3. Romance for Horn and Piano (transcribed from Romance for Tuba and Piano) (2000) 5 min. Available from the CMC. Moderate difficulty.

4. Sherwood Legend (1996) 25 min. for solo French horn and orchestra, commissioned by the Calgary Philharmonic and Kurt Kellan, soloist, for premiere January 16, 1997. Recorded by the CBC. Available with piano reduction or full orchestral accompaniment with rental parts from CMC. Also available with band. I've also written a number of chamber pieces for horn and other instruments (horn and tuba, horn and violin, etc.) If you want a list of those pieces let me know.

2. How many works have you written for horn and small chamber music (up to nine instrumentalists)?

I've written a number of works including horn in chamber works if you include things like woodwind quintets. I'll attach a separate PDF with all of my music including horn and you can get your information from that. Several of the pieces are commercially recorded (Colour Code, Pantheon, Relationships)

3. Why do you choose to include the horn in so many of your works?

Since I write traditional style music, the horn is one of the most regular instruments used. Also, the chamber group I wrote for (The Regina Symphony Chamber Players where I was a regular member until my retirement in 2010) had an orchestration of woodwind quintet, trumpet, and string quintet and I wrote a lot for them so I used the horn a lot. Another big reason is that I am good friends with Kurt Kellan who was Principal Horn in the Calgary Philharmonic until he went to teach at the University of Victoria in British Columbia. He was a terrific horn player and was always asking me when I was going to write his concerto. Then one day the Calgary Phil. told him they wanted to program him playing a concerto the following season and that's how Sherwood Legend came to be written. Then Chris Gongos, the Principal Horn in the 48 Toronto Symphony, was artist in residence for the Silverthorn Symphonic Winds and he asked me if I would transcribe the accompaniment for band, so that's how that came to pass. Phil Myers played with me in the Atlantic Symphony in Halifax back in the 1970s and he asked me to write a solo horn piece for him as he liked to play unaccompanied horn recitals so I wrote "Idiom." The recording at the Canadian Music Centre is by Kurt Kellan, by the way. I was also asked to write a chamber piece for horn, violin, and piano for Scotia Festival where Phil was a regular performer. My daughter, Erika, is one of Canada's best known solo violinists, so I wrote Pantheon for them. The Arkiv recording is with David Hoyt, Janet Scott Hoyt, and Erika Raum. Lin Foulk recorded my Romance for Horn and then asked me to write a piece for her and Deanna Swoboda (tuba player) when they both taught together in Arizona State (I think that's the university but not sure as I think they got other jobs) so I wrote Colour Code which they recorded. The horn quartet came about because Kurt Kellan was asked to play at the international Horn Summit in Banff, Alberta, so he asked me to write a piece for himself and three other horn players. The information is in the PDF with my list of horn pieces. In fact, Kurt also requested The Bushwakker Brewpub because he was giving a recital with a clarinet player, and The International Suite because we all played in an ad hoc group we called the Qu'Appelle Winds. So I guess part of the answer to your question is that Kurt Kellan wanted me to write for certain situations and I couldn't resist. (The same thing happened with John Griffiths and the tuba).

4. In general, can you discuss your compositional process?

There's an article in the Tuba Euphonium Journal that I'll attach which discusses my process. I'll attach it. Generally, I like to know the person for whom I'm writing, or at least have heard him or her and even seen a picture. Otherwise I have to picture someone or I feel like I'm writing in a vacuum. Regarding the process, sometimes I just start and keep going. I have a terrible memory or else my state of mind is different when writing than otherwise because when I come back to the piece after even an hour, it's like a brand new piece and I can be completely objective about what is good and what is bad and when needs tweaking. I like form in my writing although usually I don't plan very carefully before I start writing what form I will use unless I'm specifically going for a style; like when I wrote the Olmütz Concerto for Alto Trombone, I was specifically using Classical forms since the piece was to be in imitation of a Classical Concerto. I wrote Sherwood Legend in the movie style specifically because Kurt Kellan's father played in movie orchestras and this was Kurt's favourite kind of music. The form was more like a tone poem than anything else. I'm also very influenced by the Baroque, and especially Bach. There are so many fantastic compositional techniques there. I have also worked with twelve tone serial writing although that's more for effect because it suits the occasion.

49 5. How would you classify the form of your work, Fantasy for French Horn?

That piece is transcribed from Fantasy for Trombone which I wrote in my early days of composing as a Christmas present for my husband, Richard, who is a trombonist. Gordon Wolfe (Principal Trombone in the Toronto Symphony) asked me for program notes when he recorded the piece and I sent him the following: I wrote the Fantasy as a surprise Christmas present for my husband, Richard. That's about all there is to say about it. Maybe you could make something up about the form as it's ABA, and the A part is the masculine theme, somewhat angst ridden as he is consumed with passion for the subject of the second theme, the feminine B theme (much the way Brahms divided his themes). He is obviously successful as the two unite passionately and triumphantly in the end at the Largamente. I just made that up. There wasn't really a program when I wrote the piece. I just wanted to write something nice for Dick. It was such a long time ago that I can't really remember much about what I was thinking except to write something beautiful and romantic. I would call it ABA form.

6. When arranging your own works for horn such as your Fantasy for French Horn, do you make any changes to better suit the horn?

Well, first off I put it in treble clef and transpose it up a fifth. I just checked and apparently I did a version for horn that was a minor third higher than the trombone version. I originally left it in the same key when Kurt asked me to do it for horn and he said it was fine there but I felt it should be higher. When I rewrote The Bushwakker Six Pack (I added a beer from the original five movements to make it a six-pack) I did it for a version with clarinet, saxophone, and piano and the sixth movement was called India Pale Ale so it had more notes than a horn is used to. I rewrote it to use less notes or to give them to the other part or the piano. There are a number of versions of The Bushwakker Six Pack because people kept asking me to adapt it for different instruments. (trumpet and horn, trumpet and clarinet, horn and clarinet, saxophone and horn, oboe and horn… I would have to check my files but you get the idea) I've also rewritten things originally written for tuba and generally I can just put them up an octave.

7 What/Whom are your musical influences?

I think most composers list Bach as one of their main influences. I also love Brahms because of his orchestration. I played professional oboe in orchestras for around 50 years (the best orchestration course I could have taken, especially as I have the brass and percussion behind me, the woodwinds all around me, and the strings in front of me). I always loved the way Brahms orchestrated. I'm influenced primarily by the Romantic composers (and these days that place has been taken by video game and movie composers) and the Russian composers, like Shostakovich and Prokofiev. I can't say I am much influenced by the contemporary avant-garde composers except that when I go to a concert of modern music, it strengthens my resolve to stay away from that style. Some people love it as being adventuresome I

50 guess but I don't really want that when I'm listening to music as music. It's fun as a new experience sometimes like when they smash up instruments on stage or when someone paints in the background. I felt (like many composers) a little guilty for not "appreciating" that style of music and tried. I went to the Scotia Festival when Pierre Boulez was the featured artist and the whole two weeks was full of contemporary music beautifully played, but it all sounded the same, mostly angry, and with impossible rhythms that might work in theory but left no room for a human playing an instrument. Somehow a Beethoven string quartet got onto one of the programs and that enlightened me as to what I wanted to do in music. I gave up trying to appreciate or write avant-garde even though it's been the cause of a lot of criticism of my music.

8. Which composers do you most relate to?

I don't know if I relate to anybody. I just write what I like. I mentioned above who my influences are. I'd like to relate to the composers who seem to get their music performed all over the place no matter what it sounds like ;-)

9. Why do you choose to focus on a tonal style of composition?

I think I answered that above. I prefer it. I could write in another style but I'd feel that I was cheating. It's so easy to write minimalist, using the same thing over and over, using up time with ten seconds of music. Have you ever tried to play that stuff? I played Philip Glass's Second Symphony (I think that was the number) with all the DSs and codas and repeats and sure enough, the conductor, whom we were depending on to keep track of the number of repeats and when to go to the coda, etc. got lost. I can't say chaos ensued because it didn't matter. We were all playing the same group of notes, but we had no idea where we were. Then we started laughing which made it really difficult for the wind players but at least we were hidden. So the conductor did the "grand wipe out" and we stopped. The audience loved it. Standing ovation! They didn't realize we were lost throughout the piece. I've also played pieces where the point of them is to create chaos. That, too, is easy to write. I once wrote a twelve tone piece for a radio show as a joke in about 5 minutes. I wrote the row and the three of us (there were three musicians … oboe, clarinet, and double bass) played around with it while the announcer, who played harmonica, played along whatever he wanted. The other person there, a woman, did heavy breathing and occasional whispered "Symphony." I couldn't believe how much it sounded like regular avant-garde music.

10. How do the CMC and the CBC help to promote your works in Canada?

The CMC is a distribution centre for my music and they also have a service for people looking for works that have certain attributes, like horn solos with band or programmatic works that celebrate an even they're interested in. The CMC will make suggestions. Recently, I had my theatre piece for children selected by the Canadian Children's Opera Company (an arm of the Canadian Opera Company)

51 because the artistic director was looking for something for next year and came to the CMC to see if there was anything appropriate. The more well-known you are, but more likely you are to have people select your music. They also have recordings (the composers have to provide CDs, whether burned or commercial) so performers can hear your music. If I tried to do that from home, it would take up all my time!

The CBC, unfortunately, has become vastly reduced. My new CD, Myth, Legend, Romance: The Concertos of Elizabeth Raum, has two pieces that were originally recorded by the CBC for broadcast but they don't seem to do much of that any more. Living in Regina, Saskatchewan, I was in the middle of nowhere but many of my works for orchestra and chamber groups were recorded by the CBC. This doesn't happen anymore. However, they do play my recordings and that helps to get my music heard.

11. What do you think it will take to continue to improve the distribution and performance of Canadian's composers' works outside of Canada? Youtube! I think that's in the process of replacing institutions like the CBC. Often when a piece is performed, the musicians are asked if they mind if the composer posts it on Youtube and they usually are OK with it as long as they played well. There's also the internet in general. I get a lot of requests for information about my music (like yours) and it's so easy to send PDFs or sound files. I don't think any of this could happen without the internet.

52 APPENDIX I

INDEX OF LIBRARIES AND PUBLISHERS

Counterpoint Music Library Services Inc.

42 Frater Avenue Toronto, ON, M4C 2H6 (416) 696-5377 [email protected] http://cpmusiclibrary.ca

Canadian Music Centre

CMC National Office 20 St. Joseph Street Toronto, ON, M4Y 1J9 (416) 961-6601 [email protected] https://www.musiccentre.ca

Eighth Note Publications

25 Robinson Street Markham, ON, L3P 1N5 (905) 471-4450 [email protected] http://www.enpmusic.com/index

Evocation Publishing Company Inc.

2440 Treetop Lane North Vancouver, BC, V7H 2K5 (604) 929-8732 [email protected] www.michaelconwaybaker.com

Library and Archives Canada AMICUS

395 Wellington Street Ottawa, ON, K1A 0N4 (613) 996-5115 http://www.collectionscanada.gc.ca/amicus/

53 Virgo Music Publishers

Virgo House, 47, Cole Bank Road, Hall Green, Birmingham B28 8EZ, England UK +44 (0)121-778 5569 [email protected] http://www.printed-music.com/virgo/

Warwick Music Ltd.

Dot Com House, Broomfield Place Coventry CV5 6GY United Kingdom +44 (0)24 7671 2081 [email protected] http://www.warwickmusic.com

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59 BIOGRAPHICAL SKETCH

An avid teacher and clinician, Kiirsi currently holds the positions of Adjunct Instructor of Horn at both Troy University and Florida A&M University. She maintains her freelance career along with her teaching duties through recent performances with the Wichita Grand Opera, Tallahassee Symphony and the Columbus Symphony (GA). Prior to these positions, Kiirsi was an active freelancer throughout Ontario, performing with Orchestra London, the Thunder Bay Symphony, Guelph Symphony Orchestra and various other ensembles in the Southern Ontario region. She is a long-standing member of the American Federation of Musicians as well as the International Horn Society.

A versatile musician, Kiirsi also enjoys performing chamber music regularly. She is a founding member of the GSTQ Horn Quintet and has performed with the Florida State University Horn Choir at the IHS Conference in LA, as well as with the Esprit de Cor-Horn Choir. In 2009, she took part in a historic DVD project with Frank Battisti, Donald Hunsberger, and H. Robert Reynolds, which included a performance and recording for the World Association for Symphonic Bands and Ensembles.

Kiirsi is currently completing her Doctorate of Music at the Florida State University under Professor Michelle Stebleton. She holds her degree with a cognate in Arts Administration from the Cincinnati College-Conservatory of Music under Randy Gardner and her in Horn Performance from the University of Western Ontario, where she studied with Derek Conrod and Ron George.

60