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<I>Duo, Songs of My Nights University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Music, School of Performance - School of Music 5-2015 A Performance Guide and Comparison of Three Works for Flute and Piano by David Maslanka: Duo, Songs of My Nights, and "...and I am a child before there are words..." Christa K. Krause University of Nebraska-Lincoln, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/musicstudent Part of the Music Performance Commons Krause, Christa K., "A Performance Guide and Comparison of Three Works for Flute and Piano by David Maslanka: Duo, Songs of My Nights, and "...and I am a child before there are words..."" (2015). Student Research, Creative Activity, and Performance - School of Music. 83. http://digitalcommons.unl.edu/musicstudent/83 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research, Creative Activity, and Performance - School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. A PERFORMANCE GUIDE AND COMPARISON OF THREE WORKS FOR FLUTE AND PIANO BY DAVID MASLANKA: DUO, SONGS OF MY NIGHTS, AND “…AND I AM A CHILD BEFORE THERE ARE WORDS…” by Christa Kathleen Krause A DOCTORAL DOCUMENT Presented to the Faculty of the Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Musical Arts Major: Music Under the Supervision of Professor John R. Bailey Lincoln, Nebraska May, 2015 A PERFORMANCE GUIDE AND COMPARISON OF THREE WORKS FOR FLUTE AND PIANO BY DAVID MASLANKA: DUO, SONGS OF MY NIGHTS, AND “…AND I AM A CHILD BEFORE THERE ARE WORDS…” Christa Kathleen Krause, D.M.A University of Nebraska, 2015 Advisor: John R. Bailey Having written over forty works for wind ensemble, many of which have become part of the standard repertoire, David Maslanka (b. 1943) is known today as one of the leading wind band composers of our time. Maslanka’s compositional output also includes many solo and chamber works for wind and percussion instruments, and several orchestral and choral works. Although Maslanka’s solo and chamber works have become increasingly popular, his three works for flute and piano—Duo (1972), Songs of My Nights (2009), and “…and I am a child before there are words…” (2011), are still relatively unknown to flutists. The intent of this study is to familiarize flutists with David Maslanka’s works for flute and piano by providing an in-depth examination of the background of each piece, and by offering comprehensive suggestions to aid in the performance of these works. Because Maslanka’s three works for flute and piano span almost his entire forty-plus year compositional career, a comparison of these works also helps contribute to a deeper understanding of the compositional aspects within David Maslanka’s music over the course of his lengthy and prominent career. This study begins with an introduction, and is divided into five chapters. Chapter 1 includes a comprehensive biography of David Maslanka’s life and works. Chapters 2 through 4 provide an in-depth examination of the background of each work, along with detailed performance suggestions. Chapter 5 offers a comparison of the three works— placing each within the scope of Maslanka’s vast compositional career—along with providing concluding remarks. The appendices offer scholars further insight to the works by providing source material influential to Songs of My Nights and “…and I am a child before there are words…,” biographies of the musicians influential to the pieces, and a discography of Maslanka’s solo works for flute. This document is intended to be a valuable source for those wishing to study and perform David Maslanka’s works for flute and piano, as well as to contribute to a larger understanding of Maslanka’s powerful music and life as a whole. i DEDICATION In loving memory of my mother and my guardian angel, Deborah Ann Clerkin ii ACKNOWLEDGEMENTS I would like to take the time to express my sincere appreciation and gratitude to the following people for helping this document come to fruition. If it were not for their support, I would not be where I am today. To Dr. John Bailey, for giving me the opportunity to pursue my doctorate at UNL, and for introducing me to a completely different approach to playing the flute and thinking about music; my time spent studying with Dr. Bailey has helped me to become a more well-rounded flute player and teacher. My gratitude is also extended to Dr. Bailey for all of his time and efforts helping this document become a reality. To Dr. Carolyn Barber, for giving me the opportunity to be part of her conducting studio, for sharing her enthusiasm for conducting both on and off the podium, and for her time spent serving on my committee and assisting me with this document. To Dr. Jeff McCray, for his time spent serving on my committee and his assistance with this document. Thanks are also extended to Dr. Pamela Starr, for taking time to help with source-material research for my document and for always sharing her passion for scholarship throughout my time at UNL. My sincere appreciation is extended to David Maslanka, whose beautiful music has deeply touched my heart and my soul. The experiences I’ve had playing Dr. Maslanka’s music, and getting to know and work with him during my years at Illinois State University and throughout the course of this document, have proved to be life changing. This document would not be possible without the enormous amount of time, support, and insight Dr. Maslanka has so graciously offered during my entire research iii process. Thank you, Dr. Maslanka, for your uniquely beautiful and powerful music, and for the inspirational person you are. To Maslanka Press, particularly Matthew Maslanka, for permission to reprint score excerpts and program notes from Dr. Maslanka’s works for flute and piano and his works influential to the flute and piano pieces. To the Permissions Company, Inc. for permission to reprint Li-Young Lee’s poetry from Book of My Nights and W.S. Merwin’s poetry from The Shadow of Sirius, to Naxos for permission to reprint the text and translation to “T’amo, mia vita” from the CD booklet of Delitiae Musicae/Marco Longhini’s recording of Monteverdi’s Madrigals Book 5, and to Houghton Mifflin Harcourt Publishing company, for their permission to reprint Anne Sexton’s poem, “December 11th” from Love Poems. For so many reasons, this document would not be possible without Kim Risinger. I would not be the musician, teacher, or person I am today without the profound impact Kim has made on my life. Thank you for giving me the inspiration to write about Dr. Maslanka’s works for flute and piano, and for letting me be an important part of the rehearsals and recordings for Songs of My Nights and “…and I am a child before there are words…” It is your deeply heart-felt and passionate playing that inspired Dr. Maslanka to write these powerful works for flute, and that continually inspires me in my own playing. Thank you for always believing in me and for your constant support, love, and encouragement. I would not be where I am today without having you in my life. To Dr. Steve Steele, for bringing Dr. Maslanka’s music into my life, and for providing me with the opportunity to be a part of so many powerful and emotional performances and premieres of Dr. Maslanka’s music during my time at ISU. These iv instances proved to be truly life altering, and are memories I will forever hold dear to my heart. Many thanks for also being one my largest supporters and mentors. To Allison Brewster Franzetti, for taking time to offer your valuable insight into Dr. Maslanka’s works for flute and piano. It was extremely beneficial to have the perspective of such an amazing pianist and musician. I am so grateful that my research for this document has brought you into my life. To Dr. Tamara Helfer, for being so kind to take the time to help me map out the writing of my document, for providing me with writing goals, and most importantly, for holding me accountable to meet those goals. Your time, generosity, and kindness have forever touched my heart. To my family, particularly my Aunt Jeannie and Uncle Greg, for always being there for me; I would not be where I am to day without you. Thank you for being such an important part of my life and my heart. To my mother-in-law, Claudia, for always treating me like a daughter of her own, and for continually providing me with the best example of what it means to be completely devoted and supportive of your children. I am so thankful for all the trips you made to Nebraska for my doctoral flute recitals, and for everything that you have done for me. To my son, Tommy, who continues to redefine the meaning of true joy and love for me on a daily basis, and to my soon-to-be born second child, for providing me with the extra motivation I needed to finally complete this document. I anxiously await your arrival, and love you completely already. Special thanks are extended to my husband, Kent, for his never-ending support and love. If it were not for his belief in me and his devotion to supporting our family, pursuing my doctoral degree would never have been possible.
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