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An Annotated Bibliography of Original Works for the Choir by 21st CenturyAnthony W. Poeh aAmericanilos IV Composers

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COLLEGE OF MUSIC

AN ANNOTATED BIBLIOGRAPHY OF ORIGINAL WORKS FOR THE CLARINET

CHOIR BY 21ST CENTURY AMERICAN COMPOSERS

By

ANTHONY W. POEHAILOS IV

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

2020

Anthony Poehailos defended this treatise on April 8, 2020. The members of the supervisory committee were:

Deborah Bish Professor Directing Treatise

Jane Piper Clendinning University Representative

Jonathan Holden Committee Member

John Parks 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

This treatise is dedicated to Dr. Anthony J. Costa and the 2019-2020 Clarinet Studio at the Penn State School of Music.

Tony, thank you for sparking my initial interest in , the encouragement to pursue my doctoral studies, providing me with my first collegiate teaching opportunity, and for all the inspiration and support you have provided me over the years.

iii ACKNOWLEDGMENTS

Thank you to my clarinet professors, Dr. Deborah Bish and Dr. Jonathan Holden, for all of the invaluable instruction, mentorship, and support they have provided to me throughout my time at Florida State. I would not be the musician, teacher, or scholar I am today without you. Dr. Bish, thank you as well for serving as my advisor for this treatise and throughout my entire doctoral degree.

Thank you to Dr. Jane Piper Clendinning and Dr. John Parks for agreeing to serve on my doctoral committee. Additionally, thank you both for your guidance as I pursued my extracurricular studies in music theory pedagogy and audio engineering respectively.

Thank you to all of the composers referenced in this treatise that provided me with reference copies of their scores for this research. It is my hope that this treatise helps publicize your valuable contributions to the clarinet choir repertory.

A special thanks to my family. Mom, Dad, Daniel, Patrick, Stephen, you all have been my best support system I could ever ask for and words cannot express how grateful I am.

iv TABLE OF CONTENTS

Abstract ...... vi

1. INTRODUCTION ...... 1 Review of Literature ...... 1 Methodology ...... 3

2. A BRIEF HISTORY OF THE CLARINET CHOIR ...... 6

3. THE ANNOTATED BIBLIOGRAPHY ...... 8 David Avshalomov ...... 8 Paul Basler ...... 10 Edward Cansino ...... 12 Mike Curtis ...... 14 John Gibson ...... 16 Arthur Gottschalk ...... 18 Grant Jahn ...... 21 Michael Kibbe...... 22 Mátti Kovler ...... 23 Jeffrey Kowalkowski ...... 25 Theresa Martin ...... 26 Zachary S. Neece ...... 28 Sean Osborn ...... 30 Eric Rath ...... 32 Paul Richards ...... 34 Daniel Rodier ...... 35 Joe Rosen ...... 37 Kyle Rowan ...... 38 Jonathan Russell...... 40 James Paul Sain ...... 46 John C. Skillman ...... 47 Eddie Sundra ...... 49 Roger C. Vogel ...... 50

4. CONCLUSION ...... 53 APPENDICES ...... 55

A. TRANSPOSITION GUIDE FOR THE ...... 55 B. SAMPLE LIST OF ARRANGEMENTS FOR CLARINET CHOIR ...... 56 C. SAMPLE LIST OF WORKS FOR SMALLER CLARINET ENSEMBLES ...... 57

References ...... 58

Biographical Sketch ...... 64

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ABSTRACT

This treatise examines twenty-eight compositions written for clarinet choir by American composers published in the 21st century. Works included were published between the dates of January 1, 2000 and December 31, 2019; all were originally written for clarinet choir, excluding arrangements, transcriptions, and compositions for small clarinet ensembles. Compositions included in this bibliography are intended to be performed by ensembles of varying skill levels, ranging from secondary school clarinet ensembles to graduate and professional clarinet choirs. The majority of these works are best suited for ensembles at the undergraduate level. Thorough annotations of each score are provided, including background information about the work and the composer, required instrumentation, ranges for each part, technical challenges, and other considerations. With this information, readers will hopefully be able to make informed decisions when programming music appropriate for their ensemble. A brief contextual history of the clarinet choir is also included. The intent of this document is to provide clarinetists and music educators with a resource to consult when programming contemporary music for a clarinet choir, and to promote future research into the clarinet choir and its repertoire, a topic with little exploration in academic writing.

vi CHAPTER ONE INTRODUCTION

The purpose of this treatise is to examine repertoire written for clarinet choir by American composers published between the dates of January 1, 2000 and December 31, 2019. The clarinet choir has gained prominence since the late 20th century, particularly in the academic setting, as many universities have a clarinet choir either as a voluntary ensemble or required for music majors studying the clarinet. Despite this, there are only a small handful of resources that provide information about the repertoire available. As the most recent annotated bibliography of clarinet choir repertoire was written in 1999, this treatise will address contributions made by American composers within the past twenty years. While the repertoire draws heavily from arrangements and transcriptions, this research will focus solely on the works written originally for the ensemble. The intent of this treatise is to provide clarinetists and music educators with a resource when programming contemporary music for a clarinet choir. This document will provide thorough annotations of each score, including background information about the work and the composer, instrumentation, ranges for each part, technical challenges, and other considerations. With this information, readers will hopefully be able to make informed decisions when programming music appropriate for their ensemble.

Review of Literature

Preliminary research on the topic of clarinet choir repertoire started with Friedrich K. Pfatschbacher’s The Clarinet Choir: A special form of Ensemble conquers the world’s concert platforms, first published in 2005 and revised in 2017. This book is mostly historical, outlining the development of the clarinet choir as it was extracted from the into its own ensemble. Pfatschbacher pays special attention to trends in the size and instrumentation of the ensemble throughout the 20th century due to the clarinet choir’s increasing popularity and availability of the harmony (also known as auxiliary clarinets, such as the bass, alto, contrabass, and E-flat clarinets).

1 Pfatschbacher draws from a wide variety of sources (outlined in his bibliography) both directly and loosely related to the clarinet choir, addressing topics such as the sounding mechanisms of the clarinet, its role in the band and , and the development and use of harmony clarinets. He includes numerous articles about the clarinet choir from The Instrumentalist, published as a collection in the second volume of Woodwind Anthology: A Compendium of Woodwind Articles from ‘The Instrumentalist’ in 1986. Topics covered in these articles include the history of the ensemble (John Morgan, ‘The History of the Clarinet Choir’ and Norman Heim ‘The Clarinet Choir Phenomenon’), considerations for utilizing and writing for the clarinet choir (Thornas A. Ayres, ‘Arranging for the Clarinet Choir’) and the repertoire (R.K. Weerts, ‘Clarinet Choir Music’). Most relevant to this topic was Pfatschbacher’s repertoire list located in the appendix of The Clarinet Choir. The author claims this list is only a small catalogue, not an exhaustive list. While he provides over 450 scores for clarinet choir, the vast majority of the compositions on the list are arrangements and transcriptions, and few of the original compositions come from the 21st century. Dannene Joy Drummond’s treatise “An annotated bibliography of clarinet choir music currently published in the ” (D.M. Florida State, 1999) is the most recent annotated bibliography, which addresses original works, arrangements, and concerti with clarinet choir accompaniment. As her treatise was published in 1999, no 21st-century works are included, which my research will address. Kenneth E. Nowak’s “A Survey and Analysis of Selected Clarinet Choir Literature for use at the High School Level” (California State, 1979) contains 68 entries and is mostly comprised of arrangements. Nowak’s analyses focus on the technical demands of each part along with other factors to determine overall difficulty. I will follow a similar approach to his analysis for my annotations (see Methodology, p. 3). Margaret Thornhill, director of the Los Angeles Clarinet Choir, provides valuable information about the clarinet choir and its repertoire in her article series, “The Clarinet Choir,” featured in the International Clarinet Association’s quarterly journal, The Clarinet. Since her first article in 2007, Thornhill has offered guidance on starting and organizing a clarinet choir, reported on news about modern choirs from around the world, and shared her recommendations for repertoire. The repertoire suggestions were helpful in my early research, as most of her

2 suggestions are recent commissions by her Los Angeles Clarinet Choir or by the ensembles she writes about.

Methodology

Repertoire included in this bibliography satisfies the following criteria: • The work must have been published between the dates of January 1, 2000, and December 31, 2019. • The composer must be considered “American.” This includes composers born, raised, and/or currently living in the United States, those who spent significant time in the United States as a music student or composer, or otherwise self-identify as American. • The work must be written originally for clarinet choir. Transcriptions and arrangements will not be considered, including works originally for smaller clarinet ensembles such as quartets and quintets. A sample list of arrangements which satisfy all other criteria (except not originally for clarinet choir) is provided in Appendix B. • To count as a work for “clarinet choir,” the piece must be intended to be performed by at least nine people. For the scope of this bibliography, anything written for an octet or smaller ensemble will be categorized as , not a full clarinet choir.,. A sample list of smaller clarinet ensemble repertoire which satisfy all other criteria is provided in Appendix C.

A preliminary list of repertoire was acquired through a thorough review of clarinet choir repertoire found on WorldCAT, composers’ websites, publishers’ online catalogues, and articles from The Clarinet. In addition, the following clarinet choir directors were contacted, requesting lists of original works for clarinet choir their ensemble has either performed or commissioned: • Mitchell Estrin, University of Florida • Margaret Thornhill, Los Angeles Clarinet Choir • Rose Sperrazza, Chicago Clarinet Ensemble • Robert DiLutis, University of Maryland • Robert Spring, ClariZona Clarinet Choir

3 Scores were acquired through a combination of Interlibrary Loans, free online PDFs composers posted online, or reference copies provided out of courtesy by composers by email. The annotations for each score will provide the following information: • Composer and dates (if locatable) • Title and year of publication • Publisher • Timing: This will be provided in both length of performance (if either notated in the score or recordings are available) and in total number of measures. • Structure: Compositions will be categorized as either one continuous movement or multiple movements. Works with multiple movements will have each title listed. • Instrumentation and Range: Range will be notated according to the written pitches in the clarinetist’s part. Pitches will be assigned their appropriate scientific pitch notation (“Middle C = C4”). A guide to transposition for each member of the clarinet family will be provided in Appendix A. The required number of players will also be provided in the presence of any part with a divisi. If the composer published alternate versions of a part for another instrument, such as using a B-flat to cover a part originally for , this will also be notated. • Any additional instruments required besides members of the clarinet family. In the case of percussion, all required instruments and the designated number of percussionists will also be included. • Time signatures present in the work. • Any extended techniques, atypical sounds, or other unusual markings by the composer. • Background information about composer and composition. For multiple works by the same composer, the first entry by that composer includes biographical information. • A brief overview of the work, including information such as the general character of the piece, identifiable forms or compositional techniques, stylistic considerations, and potential technical challenges.

The following abbreviations will be used in the “Instrumentation and Range” section of each annotation, followed by numbers in the instance of multiple parts that utilize the same instrument: 4 • E-flat Sopranino Clarinet = E-flat • B-flat Soprano Clarinet = B-flat • E-flat Alto Clarinet = Alto • F = Basset • B-flat = Bass • E-flat Contralto Clarinet = Contralto • B-flat = Contrabass

5 CHAPTER TWO A BRIEF HISTORY OF THE CLARINET CHOIR

The earliest use of the clarinet family as an independent ensemble appeared at the end of the 19th century. Gustave Poncelet, the clarinet professor at the Brussels Conservatory, was credited with this innovation in a report by Richard Strauss in 1896, which told of Poncelet’s 22- person clarinet ensemble performing an arrangement of Mozart’s G minor .1 His “clarinet orchestra” consisted of two E-flat clarinets, five 1st clarinets (in B-flat), four 2nd clarinets, four 3rd clarinets, four basset horns (plus eight B-flat clarinets doubling), six bass clarinets, a contrabasset horn and contrabass clarinet. The clarinet ensemble movement in the United States began in the early 20th century. The most notable early clarinet choirs were under the direction of (founded in 1927)2 and Clarence Warmelin (1933)3. Bellison’s vision of his ensemble was to serve as a means of training clarinetists in the art of ensemble playing to prepare them to perform in an orchestra.4 Originally started as an octet, the Bellison Clarinet Ensemble at its largest consisted of seventy-five clarinetists. The term “clarinet choir” was not adopted until the 1950s by teachers and arrangers including James P. De Jesu, Russell Howland, and Harold Palmer. This labeling signified increasing popularity, also evidenced in the increase in the total number of works arranged for clarinet choir during this decade. Additionally, the first original work for clarinet choir, Havana Moon, was written in 1955 by Alfred Reed, who was recruited by Don McCathren of the Leblanc Corporation to help him explore the potential of the clarinet choir.5 It is during this same time period that clarinet choirs began to appear in the academic setting, such as the College Clarinet

1 Friedrich K. Pfatschbacher, The Clarinet Choir (Hamburg: tradition, 2017), 15. 2 Simeon Bellison (1883-1953) was aa Russian-born clarinetist and was principal clarinetist of the Moscow Opera and Symphony Orchestra from 1903 to 1915. Bellison eventually moved to the United States and served as principal clarinetist of the New York Philharmonic from 1920 to 1948. The clarinet choir he founded in 1927 began with only eight players, but grew to 75 members by 1948. Source: Pamela Weston, More Clarinet Virtuosi of the Past, (London: Fentone Music Ltd, 1977), 47. 3 Clarence Warmelin was principal clarinetist of the Minneapolis Symphony Orchestra. He learned of Poncelet’s clarinet choir through his lessons with Joseph Schreurs, a student of Poncelet. After moving to Chicago, Warmelin created the Warmelin Ensemble, a clarinet choir of students and local professionals, which ran from 1933 to 1938. Source: Pfatschbacher, 17. 4 Pfatschbacher, 21. 5 Ibid., 28. 6 Choir at Fresno State College founded by Howland, the Iowa State University Clarinet Choir by Thomas A. Ayres, and the Duquesne Clarinet Choir by McCathren.6 Lucien Cailliet also contributed to the rise of the clarinet choir in this decade through his article publications, arrangements, and his unique compositions such as Clarinet Poem. Other important names in the development of the clarinet choir in the late 20th century include Harvey Hermann (University of Illinois) and Ray Upton Holder (Ionian Clarinet Choir, Great Britain), alongside Kendor Music Inc., which collaborated with the University of Maryland to hold multiple composition contests in the 1970s.7 Currently, active collegiate clarinet choirs play a major role in the premiere of new works. Outside of academia, there are a handful of professional and community-based clarinet choirs around the world that actively perform in concerts, tours, and conferences like ClarinetFest. Prominent ensembles include the Northwest Clarinet Choir (Seattle) directed by William Blayney, Los Angeles Clarinet Choir by Margaret Thornhill, the Silverwood Clarinet Choir (New York) with John Bird, the Austrian Clarinet Choir with Friedrich K. Pfatschbacher, and the Claribel Clarinet Choir, originally founded by Guido Six (1955-2015) and under the current direction of Bart Picqueur and Henk Soenen.

6 Ibid., 34. 7 Ibid., 38. 7 CHAPTER THREE THE ANNOTATED BIBLIOGRAPHY

This bibliography includes twenty-eight compositions for clarinet choir by American composers written between the years 2000 and 2019. Each entry, labeled by the composer and title of the work, begins with a bulleted list providing the publisher, duration (in both time and measure numbers), structure, instrumentation, range of each part, meter(s), and any required extended techniques for each piece. Following the bulleted list is prose detailing background information about the composer and the piece, along with a brief description of the work including mention of notable stylistic and technical considerations. The majority of works in this bibliography are best suited for the average undergraduate clarinet choir, due to the required instrumentation, range of each part, overall metric complexity, and other technical aspects that are further detailed in each entry. Compositions that are notably easier (suited for secondary school ensembles) or more challenging (suited for graduate or professional ensembles) are identified as such in the prose section of each entry.

David Avshalomov Three Outside (2009)

• Publisher: Raven Music • Timing: 17 minutes, 693 measures • Structure: three movements o I. Magic Fountain o II. Moon Song o III. Hill Dance • Instrumentation and Range: o E-flat: F3 to F6 o B-flat 1: E3 to A6 o B-flat 2: E3 to F#6 o B-flat 3: E3 to F#6 o B-flat 4: E3 to F#6 (ossia E6)

8 o B-flat 5: E3 to F#6 (ossia E6) o B-flat 6: E3 to F#6 (ossia E6) o B-flat 7: E3 to F#6 (ossia E6) o Alto: Eb3 to Bb5 o Bass 1: D3 to Bb5 o Bass 2: D3 to Gb5 o Contralto: E3 to Ab5 • Time Signatures: 2/2, 2/4, 3/4, 4/4, 5/8, 6/8, 8/8 • Extended Techniques: pitch bending, vocal noise, vibrato, flutter tonguing, intentionally playing out of tune, light choreography (adjusting direction and bell angles)

David Avshalomov is an accomplished vocalist, composer, and conductor, born in and currently residing in Santa Monica, California. He holds degrees from Harvard and the University of Washington, and studied conducting with Seiji Osawa and Leonard Bernstein (among others) and composition with Charles Jones, John Verrall, Robert Suderberg, and William Bergsma. Avshalomov describes his style as “accessible modern romantic, neo- tonal,” influenced by 20th-century tonal composers and his father and grandfather. His music is often inspired by nature and man’s relationship to it. He has often been commissioned by regional ensembles in Southern California, and his works are recorded on the Albany and Naxos labels. He was recognized as an Honored Artist of the American Prize in 2014.8 Three Outside was written in 2008 for Margaret Thornhill and the Los Angeles Clarinet Choir. The three movements are each written to evoke a different energy–mechanical, natural, and human–in various outdoor settings. “Magic Fountain” depicts mechanical energy, and is described by Avshalomov as “music for the eye, mostly about harmony.”9 “Moon Song” aims to channel natural energy, and is “music for the heart, all about melody.”10 “Hill Dance” is all about human energy, “music for the body, all about rhythm.”11

8 David Avshalomov, “About the Artist,” David Avshalomov, accessed February 25, 2020, http://davidavshalomov.com/about/about-the-artist/. 9 David Avshalomov, “Program Notes,” PDF File, accessed February 25, 2020, http://fogsparrow.wpengine.com/wp-content/uploads/NT_Three-Outside_combined-med-notes.pdf. 10 Ibid. 11 Ibid. 9 The first movement, “Magic Fountain,” is characterized by sweeping and agile flourishes, mimicking jets of water in a fountain. These flourishes interact with each other through planing, imitation, and call-and-response. Avshalomov also experiments with hocket and composite motives (where a motive or phrase is created through combining fragments in multiple voices) to highlight the various colors of the ensemble and create sweeping gestures across its collective tonal range. “Moon Song” opens with a lyrical first clarinet solo over a legato eighth-note ostinato in the accompaniment. Afterwards, a fast chromatic passage gradually builds in both dynamic intensity and orchestration, resembling a small breeze growing into a large gust. The rest of the movement combines the lyrical style of the opening, chromatic gestures, and tremolos in various scorings before the “wind” dissipates and the introductory material returns to close the movement. “Hill Dance” begins with a lively folk-like Bulgarian dance in 5/8, which creates an asymmetric four-beat hypermeter (short-long-long-short, or 2+3+3+2). Included in this section are extended solos for E-flat and B-flat 1, which are indicated on the score to be performed in a raucous and dirty style with the use of vibrato and pitch bending. The movement transitions into a slower 2/4 klezmer dance, with markings for players to sound like they are drunk and fighting over who has the solo by playing slightly out of tune, very loudly, and with lots of vibrato. The piece closes with a return to the 5/8 dance, suggesting a ternary form, starting soft and gradually building to the end.

Paul Basler Dr. Boda’s Magical Spinning Machine (2014)

• Publisher: Alry Publications • Timing: 3 minutes and 45 seconds, 216 measures • Structure: one movement • Instrumentation and Range: o E-flat: F4 to G6 o B-flat 1: Bb3 to G6 o B-flat 2: Bb3 to F#6

10 o B-flat 3: G3 to C6 o Basset (Alto alternate): F3 to Db6 o Bass: D3 to C6 o Contralto: D3 to D5 o Contrabass: G3 to G5 • Time Signatures: 2/4, 3/4, 4/4, 3/8, 6/8, 9/8

Paul Basler is Professor of French Horn at the University of Florida, with previous appointments at Western Carolina University and Caldwell Community College. He has performed with the symphony of Brevard, Charleston, Valdosta, Greenville, and Asheville, and at numerous International Horn Society Workshops and music festivals throughout Europe. As a composer, he has been awarded the North Carolina Arts Council Composer’s Fellowship and a Composer/Teacher Grant from the National Endowment of the Arts. His works have been performed at major venues including Carnegie Hall, Disney Concert Hall, the Kennedy Center, and Sydney Opera House. Basler received his B.M. degree from Florida State University and his M.M., M.A., and D.M.A. degrees from Stony Brook University.12 Dr. Boda’s Magical Spinning Machine was written in 2014 for Mitchell Estrin and the 2014 ICA ClarinetFest Festival Choir, and named in honor John Boda, Basler’s composition teacher during his undergraduate studies at Florida State University. The piece begins with a fanfare-like introduction with unison rhythms and long flourishes. The music then transitions into a brisk scherzo in compound meter, where it remains for the rest of the piece. While the fast section is written in compound meters with the dotted quarter note as the constant macrobeat, Basler employs hemiola in multiple manners, including the grouping of quarter note values and utilizing duplet and quadruplet passages. He also frequently utilizes compositional techniques such as call-and-response and composite motives that highlight the wide tonal range of the ensemble.

12“Paul D. Basler,” University of Florida College of the Arts, accessed February 1, 2020, https://arts.ufl.edu/directory/profile/1915.

11 Edward Cansino The Great Clarinet Circus (2006)

• Publisher: self-published • Timing: 36 minutes, 797 measures • Structure: nine movements o I. Parade o II. Animal Acts! o III. Clowns o IV. The Mighty Elephants o V. A Sad Clown o VI. Three Rings o VII. More Clowns o VIII. Fanfare o IX. Grand Finale • Instrumentation and Range: o E-flat 1: E4 to G6 o E-flat 2: A4 to Db6 o B-flat 1: D4 to E6, 3 required players o B-flat 2: F#3 to G6, 3 required players o B-flat 3: F#3 to D6, 3 required players o B-flat 4: F#3 to D6, 3 required players o Basset: Eb3 to Ab5 o Bass 1: D3 to F#5 o Bass 2: D3 to F#5 o Contrabass: D3 to E5 • Additional Instruments: percussion (one player): whistle, snare drum, suspended cymbal, guiro, glockenspiel, temple blocks, cow bell, bicycle horn, bass drum, sleigh bells, tambourine, medium and large gongs, slide whistle, triangle, slap stick, and xylophone • Time Signatures: 2/2, 3/2, 2/4, 3/4, 4/4, 5/4, 6/4, 3/8, 6/8, 9/8, 12/8, 15/8 • Extended Techniques: flutter tonguing

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Edward Cansino (1944-2010) was a California-based composer and both the conductor and co-founder of the I Cantori ensemble. The ensemble of vocalists and instrumentalists specialized in early music performances, but also took great interest in the relationships between early and contemporary music. Cansino studied composition at Los Angeles City College and UCLA, although he never finished his degree. He was a versatile composer; his works include operas, ballets, and works for I Cantori. His style, according to I Cantori co-founder Jeannine Wagner, was “[sometimes] atonal, but not all of it. A lot of it has whimsy, kind of like Ed.”13 The Great Clarinet Circus was written in 2006 for Margaret Thornhill and the Los Angeles Clarinet Choir, who premiered the work on December 2nd that year.14 This large work is divided into nine movements, with movements two and six divided into three separate sections. The first movement, “Parade,” involves an actual parade of musicians, with the ensemble playing the fanfare-like introduction backstage before marching onto the stage to a snare drum cadence. As the musicians enter, each player adds an ostinato to the ongoing vamp until all players are on stage. “Animal Acts!” depicts one animal in each of its miniature movements. Barking dogs are heard through the use of dissonant staccato tone clusters, flourishes and trills emulate bird calls, and a galloping rhythm with wood block evokes the image of running horses. The third movement, “Clowns,” establishes chromatic scale passages as a motif for the clowns, which will recur in later movements. This movement also features an exposed bass clarinet solo. “The Mighty Elephants” is ironically a waltz-like dance in 3/4, making prominent use of the tritone, which could create a feeling of clumsiness. “A Sad Clown” begins with the aforementioned chromatic scale motif, and makes extensive use of the basset horn with multiple cadenzas and solos. “Three Rings” is another compilation of miniature movements: “The Daring Aerialists,” “The Fearless Lion Tamer,” and “The Amazing Jugglers.” While each part is only involved in one of these sections, Cansino then places all three themes on top of each other to close out the movement. “More Clowns” is almost exactly like the third movement in terms of structure and use of the chromatic motif, with the only noticeable difference a change in tonality.

13 Keith Thursby, “Edward Cansino dies at 63; composer and conductor led eclectic ensemble I Cantori,” Los Angeles Times, December 25, 2010, accessed February 20, 2020, https://www.latimes.com/archives/la-xpm-2010- dec-25-la-me-edward-cansino-20101225-story.html. 14 Edward Cansino, The Great Clarinet Circus (self-pub., 2006), program notes. 13 In the he eighth movement, the clarinet choir plays an introductory fanfare to a solo act of the director’s choice, adding an indeterminate component to the work. The composer states that the solo act could be performed by anything from a clarinet to a kazoo, or even be a non-musical act such as dancing, juggling, or animals performing tricks. Following this is the “Grand Finale,” which is the longest movement of the work, totaling 297 measures. This movement is very energetic with its use of chromaticism, hemiola, and use of a wide variety of percussion instruments, including the slide whistle. As notated in the score, between separate parts and divisions within the B-flat clarinet parts, a total of eighteen unique clarinet parts need to be filled. However, some reductions are possible. The second E-flat part is only required for the first two movements, and the second bass clarinet part is required for the remaining seven, meaning it could be possible for both parts to be covered by one player. Additionally, the B-flat clarinet parts only divide into three parts in the final movement, so Cansino states in the score that this could be done with only eight B-flat clarinetists if directors carefully choose which voices to omit.

Mike Curtis Mexican Fantasies for Clarinet Choir (2014)

• Publisher: MSS Publishing • Timing: 12 minutes and 30 seconds, 390 measures • Structure: four movements o I. Amores o II. The Blue Cupola o III. Amistades o IV. La reina del trópico • Instrumentation and Range: o E-flat: C4 to E6 o B-flat 1: E3 to F#6 o B-flat 2: E3 to D6 o B-flat 3: E3 to A5 o Alto: E3 to C6

14 o Bass: E3 to G5 o Contrabass: E3 to G5 • Time Signatures: 3/4, 4/4, 5/4, 6/8, 7/8, 9/8 • Additional Instruments: muted cowbell and guiro (final movement only)

Michael “Mike” Curtis (b. 1952) was born in California and currently resides in Eugene, Oregon. He is an experienced professional musician on both and bassoon, and his performance credits include the Eugene Symphony, the Arrieu Wind Quintet, Mexico State Symphony, and his own chamber groups: the Mike Curtis Klezmer Quartet and Oboe Madness duo. His works are primarily solo and chamber pieces for woodwind and string ensembles, largely inspired by folk genres such as klezmer and jazz, and music from other countries like Mexico and China.15 Mexican Fantasies was written in 2014 as a commission for Margaret Thornhill and the Los Angeles Clarinet Choir, who Curtis heard perform his own Global Tour earlier that year. While this commission for clarinet choir was premiered in November, 2014 in Pasadena, California, a version for clarinet quartet was premiered two months earlier by Cuarteto de Clarinetes Paxx Kan, a clarinet quartet from Mexico.16 The melodic material present in this work was written during his trip to Mexico earlier that year, with each movement representing various sights, people, and experiences he had encountered. “Amores” begins with a ballad-like introduction, leading into a dance mixing 3/4 and 6/8 meters before returning to the introductory material to close the movement. “The Blue Cupola” primarily consists of song-like cadenzas by various solo instruments over drones, with only one moment utilizing the full ensemble on a unison melody. “Amistades” is a dance in ternary form, with a constantly changing meter, that incorporates less common or asymmetric meters such as 5/4, 7/8, and 9/8. The final movement, “La reina del trópico,” is a brisk dance in triple meter, felt in one, which includes syncopations and hemiolas, and presents a ternary structure audible in the changing modalities from G major to G minor, then back to G major.

15 Mike Curtis, “Bio,” Mike Curtis Music, accessed January 30, 2020, http://mikecurtismusic.com/Bio.html. 16Jennifer A. Reeves, “Original Clarinet Quartet Works of Mike Curtis and Josh Spaulding: An Analysis and Performance Guide,” (doctoral dissertation, University of Nebraska, 2017), 68.

15 As the piece was written simultaneously for clarinet quartet and clarinet choir, Curtis doubles lines across multiple parts, often pairing bass and contrabass, E-flat and first or second B-flats, and third B-flat and alto clarinet. This allows for the work to be played with fewer harmony clarinets without missing crucial parts. While the complete range of each part is similar to other works in this bibliography, the tessitura of each part is notably more compact. The narrower tessituras, frequent doubling, and generally simpler technical demands make this work notably appropriate for younger or less-experienced ensembles.

John Gibson Klarifications (2016)

• Publisher: JB Linear Music • Timing: 7 minutes, 326 measures • Structure: three movements o I. Canons Firing from Ever Rising Staircases (or Heed the Effer’s Frantic Calls) o II. Close Encounters with Basses o III. Sometimes Free (A Montuno) • Instrumentation and Range: o E-flat/B-flat (one player doubling on both instruments): § E-flat: E4 to E6 § B-flat: D4 to G6 o B-flat 1: F3 to G6 o B-flat 2: F3 to F6 o B-flat 3: F3 to F6 o Alto 1: A3 to B5 o Alto 2: A3 to A5 o Bass 1: G3 to F#5 o Bass 2: F#3 to F5 o Contrabass: A3 to C#5 • Time Signatures: 2/4, 3/4, 4/4 • Extended Techniques: flutter tonguing, portamento, multiphonics, microtones

16

John Gibson was born in Dallas, Texas, where he began his music education by studying with Oakley Pittman, the director of bands at Southern Methodist University and principal clarinetist of the Dallas Symphony. He received degrees in music education and clarinet performance from the University of Colorado. While his primary instrument is the clarinet, he performs on all woodwind instruments. He founded JB Linear Music in 1998 to publish over 600 works that he composed for woodwind ensembles of varying sizes.17 Klarifications features several extended techniques. The first movement, “Canons Firing from Ever Rising Staircases (or Heed the Effer’s Frantic Calls)”, as the title suggests, includes quotations from numerous canons based on musical examples from Bach, Bizet, Telemann, and Mozart in the alto and bass clarinets. Simultaneously, the three B-flat soprano clarinets play an ascending motive in parallel octaves, with each part jumping back down to the register after reaching the peak note (F6). This scoring creates an auditory illusion of perpetual ascent, based on the concept of the Shepard Tone–named after Roger Shepard–which describes the sensation of an infinite ascension or descension through the layering of sine waves separated by octaves.18 This movement also includes complex metrical layering, as duple, triple, and quadruple divisions of the measure may be heard simultaneously during the canons. The second movement explores the unique sounds that alto and bass clarinets are capable of producing. While there are no standard pitches in their parts, performers produce a variety of sound effects by blowing into the instrument without producing tone, popping their fingers on and off the keys, and clicking their tongues with the mouthpiece inside their mouths. The other clarinet parts also incorporate extended techniques such as flutter tonguing, portamento, pitch bending, multiphonics, and microtones. Gibson notes in the score to amplify the low clarinets with microphones for their sounds to be heard. The final movement begins with a gradual introduction of various grooves, beginning with the contrabass clarinet. In the middle of this movement, clarinetists are given a choice of four variations on an eight-measure groove to play for a brief duration, adding an indeterminate element to the work.

17 John Gibson, “About John,” JB Linear Music, accessed March 5, 2020, http://www.music4woodwinds.com/aboutjohngibson.html. 18 Roger N. Shepard, “Circularity in Judgements of Relative Pitch,” Journal of the Acoustical Society of America 36, no. 12 (Dec. 1964), 2346-53, doi: 10.1121/1.1919362. 17 Arthur Gottschalk Suite Nothings (2012)

• Publisher: Potenza Music • Timing: 390 measures • Structure: three movements o I. The March of the Licorice Stick Figures o II. Weird Harold’s Stomp o III. The Royal Australian Regimental Rondo • Instrumentation and Range: o E-flat: Bb3 to F6 o B-flat 1: A3 to F#6, 2 required o B-flat 2: G3 to A5, 2 required o B-flat 3: E3 to F#5, 2 required o Alto: F3 to G5 o Bass 1: F3 to C6 o Bass 2: Eb3 to Bb4 o Contrabass (optional): F3 to Bb4 • Time Signatures: 2/4, 3/4, 4/4 Arthur Gottschalk (b. 1952) is Professor of Composition and Music Theory at the Shepherd School of Music at Rice University. He holds numerous awards for his compositions, including First Prize of the VVX Concorse Internazionale di Composizione Originale (Corciano, Italy), the Bogaliasco Fellowship, the Charles Ives Prize of the American Academy of Arts and Letters, and annual awards from the American Society of Composers, Authors, and Publishers. His compositional output includes scores for film, television, and industrial films and commercials, in addition to his concert works. He received his degrees in composition from the University of Michigan, where he studied with famous American composers including William Bolcom, Ross Lee Finney, and Leslie Bassett.19

19 “Arthur Gottschalk,” Rice University Shepherd School of Music, accessed March 1, 2020, https://music.rice.edu/faculty/arthur-gottschalk. 18 Suite Nothings was commissioned by Richard Nunemaker of the Houston Symphony for his Effortless Clarinet Studio ensemble. Nunemaker commissioned the work in dedication to Michael Perricone, a former student of his who was diagnosed with cancer. The contrabass part, marked as optional by the composer, was added per the request of Don Gross and Margaret Thornhill. The first movement, “The March of the Licorice Stick Figures,” is a slow, steady march that incorporates syncopation, simultaneous simple and compound subdivisions, and exposed first bass clarinet cadenzas. “Weird Harold’s Stomp” is characterized by its mixed meter that establishes fifteen-beat groupings (one measure of 3/4 plus three measures of 4/4) and features a dominantly staccato style with slurred hemiola groupings that act as a punctuation to each section. Gottschalk cites jazz legend Herbie Hancock as an inspiration for this movement.20 The rondo theme of the final movement was originally written for the Band of the First Battalion, Royal Australian Regiment. This lively, syncopated theme is contrasted by legato, chorale-like writing, although the movement as a whole is atonal.

The Kaleidoscopic Pocket Hockets Boogaloo! (2011)

• Publisher: Potenza Music • Timing: 388 measures • Structure: one movement • Instrumentation and Range: o Bass 1: F3 to F6 o Bass 2: C4 to F6 o Bass 3: Eb3 to C6 o Bass 4: Eb3 to C6 o Bass 5: E3 to F#6 o Bass 6: G3 to Db6 o Bass 7: Eb3 to C6 o Bass 8: Eb3 to Bb5

20 Arthur Gottschalk, Suite Nothings (Evansville: Potenza Music, 2012), program notes. 19 o Contrabass 1: G3 to E6 o Contrabass 2: F3 to A5 • Time Signatures: 2/4, 3/4, 4/4, 3/8 • Extended Techniques: finger snaps, light choreography including rhythmically turning left/right, leaning forward and back, etc., pitch bending, portamento

The Kaleidoscopic Pocket Hockets Boogaloo! was commissioned in 2011 by Rico Reeds, who premiered the work at the 2011 ClarinetFest. The title is a reference to Tom Wolfe’s novel, The Electric Kool-Aid Acid Test. The music takes inspiration from a literary genre referred to as “Hysterical Realism” by English critic James Wood, which he characterizes as “a strong contrast between elaborately absurd prose, plotting, or characterization and careful, detailed investigations of real specific social phenomena.”21 While the piece is one continuous movement, there are three distinct sections. As the title suggests, Gottschalk incorporates hockets throughout the entire work. The first section of the work contains hockets in both the melodic sixteenth-note passages and the eighth-note accompanying motor figure. While the eighth note remains constant in the opening section, the meter frequently shifts between 4/4, 3/4, and 3/8. The second section of the work is characterized by the gradual layering of funk-inspired syncopated grooves, starting in the contrabasses and adding voices in ascending score order. This is accompanied by finger snaps on beats two and four as players wait for their entrance. Once the entire ensemble has joined in, the texture resets and the building of grooves begins again. This happens multiple times with the addition of choreography (such as instruments pointed in specific directions) before the final section of the work, characterized by a brisk composite stream of eighth notes, again created through hockets. The piece reaches its climax at the end when the entire ensemble is unified with the same rhythm for the first time in a shout of block chords with light choreography as mentioned above.

21 Arthur Gottschalk, The Kaleidoscopic Pocket Hockets Boogaloo (Evansville: Potenza Music, 2011), program notes. 20 Grant Jahn Pulse (2015)

• Publisher: self-published • Timing: 4 minutes and 30 seconds, 131 measures • Structure: one movement • Instrumentation and Range: o E-flat: C4 to G6 (Eb4 to Bb6) o B-flat 1: C4 to G6 (Bb3 to F6) o B-flat 2: C#4 to D6 (B3 to C6) o B-flat 3: F3 to A5 (Eb3 to G5) o B-flat 4: F3 to D#5 (Eb3 to C#5) o B-flat 5: F3 to D5 (Eb3 to C5) o Bass 1: C3 to Bb4 (Bb1 to Ab3) o Bass 2: E3 to G4 (D2 to F3) o Bass 3: D3 to E4 (C2 to D3) • Time Signatures: 2/4, 3/4, 4/4, 6/8, 7/8, 9/8 • Extended Techniques: “random notes without thumb key,” “finger glissando” Grant Jahn studied composition at Arizona State University under the tutelage of Jody Rockmaker, Kotoka Suzuki, Rodney Rogers, and Doug Harbin. He also studied clarinet with Robert Spring and Joshua Gardner, which fueled his interest in writing for clarinet and using contemporary techniques such as multiphonics and quarter tones.22 Pulse is dedicated to the clarinet studio at Arizona State University under the direction of Spring and Gardner. In the composer’s words, “Pulse for clarinet choir is a fast-paced and engaging work that uses constant meter changes and rhythmic ostinatos to create forward- moving energy.”23 As Jahn mentions in his program notes, the piece revolves heavily around ostinatos in changing meters. The primary ostinato which frames the work is a syncopated pattern over seven

22 Grant Jahn, “Biography,” Grant Jahn, composer, accessed February 15, 2020, https://www.grantjahnmusic.com/biography. 23Grant Jahn, “Pulse for Clarinet Choir,” Grant Jahn, composer, accessed February 15, 2020 https://www.grantjahnmusic.com/pulse-for-clarinet-choir. 21 beats (4/4 + 3/4), first presented by the fifth B-flat clarinet. Other parts enter on different beats within the meter, creating a sense of phase. The unusual techniques utilized include what the composer calls a “finger glissando,” where he asks clarinetists to create a sliding and somewhat whining sound by quickly fingering a chromatic scale without the left thumb covering the tone hole or register key.24 In a similar manner, the score later calls for the clarinetists to finger random notes without the thumb key, creating a timbral trill effect.

Michael Kibbe Dark Ceremony, Op. 227 (2014)

• Publisher: Woodwindiana • Timing: 7 minutes, 250 measures • Structure: one movement • Instrumentation and Range: o E-flat: Ab4 to D#6 o B-flat 1: E3 to G6 o B-flat 2: E3 to D6 o B-flat 3: F#3 to D6 o B-flat 4: F#3 to A5 o B-flat 5: E3 to F#5 o Alto: D#3 to E#5 o Bass 1: D3 to A#5 o Bass 2: D3 to A#5 o Contrabass: D3 to E5 • Time Signatures: 2/4, 3/4, 4/4, 6/8, 7/8, 9/8

Michael Kibbe (b. 1945) is a California-based composer, with musical training from San Diego State, New Mexico State, California State, Northridge, and UCLA. He performs on

24 Michael Kibbe, Dark Ceremony, Op. 227 (Woodwindiana, 2014), program notes. 22 multiple woodwind instruments–primarily flute, oboe, and bassoon–and focuses most of his creative output towards chamber music, including wind quintets, string quintets, clarinet quartets, and various other ensembles.25 Dark Ceremony, Op. 227 was premiered by the Indiana University Clarinet Choir on November 12, 2015. Kibbe states, “There is no particular program implied here; rather a generalized dark feeling pervades the work.” He states that he achieves this somber character through the prominence of the low clarinets, but this somberness is juxtaposed with moments of playfulness as well.26 The work begins with an eighth-note ostinato in the low clarinets, establishing a combined meter of 4/4 and 7/8. The staccato eighth notes are contrasted by wandering sixteenths and high-pitched sustained notes in the upper clarinets. A moderate scherzo in a compound meter follows the introduction, with an eventual return of the opening ostinato in the low clarinets as duplets, creating a hemiola with the upper clarinets. The scherzo gradually unwinds, giving way to an alto clarinet cadenza, which leads into a brisker section featuring moments of fugal counterpoint. This section slowly accelerates to an energetic coda, which suddenly resolves into a bright C major chord.

Mátti Kovler Hajdu’s Niggun (2017)

• Publisher: Barkol Music Publishing • Timing: 10 minutes, 136 measures • Structure: one movement • Instrumentation and Range: o E-flat: G3 to E6 o B-flat 1: F3 to F6, 2 required players o B-flat 2: G3 to F#6, 2 required players o B-flat 3: F3 to E6, 2 required players o Alto 1: A3 to C6

25 Ibid. 26 Ibid. 23 o Alto 2: A3 to C#6 o Bass: G3 to G5 o Contrabass: Ab3 to A5 • Time Signatures: 3/4, 4/4, 6/4 • Extended Techniques: flutter tonguing, portamento

Mátti Kovler is an American composer based in Brooklyn, although he was born in Moscow and raised in Jerusalem. His music ranges in style from folk and jazz to classical, and is influenced by Jewish folklore, experimental music theatre, and the cult writings of French theatre philosopher Antonin Artaud. His music has been performed by the Israel Philharmonic, Fox Studios Symphony (Los Angeles), Metropole Orchestra (Amsterdam), and the American Composers Orchestra (New York) among others. Kovler was a fellow at music festivals including Tanglewood and Aspen, and has won two ASCAP Morton Gould Young Composer Awards, the Theodor Presser, and Brother Thomas Awards.27 Hajdu’s Niggun was written for Margaret Thornhill and the Los Angeles Clarinet Choir, who premiered the work at the International Clarinet Association’s 2017 ClarinetFest in Orlando, FL. The piece was dedicated to the memory of André Hadju, an Israeli composer and Kovler’s closest mentor. A niggun – also spelled nigun – is a form of Jewish vocal music, often sung without words. This work features a stark contrast between serene lyricism and frantic energy. While the piece begins and ends with sections of long sustained chords and slower melodic material, there are numerous moments of rapidly moving accompaniment and gestures suggesting “klezmer laughter” throughout the work. At multiple points, Kovler places multiple different subdivisions of the beat on top of each other, such as triplets, sixteenths, quintuplets, and sextuplets all occurring simultaneously, to create a sense of nebulous chatter. There are exposed solo lines in almost every part, with a particularly prominent first clarinet solo marked to play with abandon. While this is the only part with a marked portamento, all parts besides the E-flat and first B-flat clarinets include flutter tonguing at least once within the work.

27 Mátti Kovler, “About,” Mátti Kovler, accessed April 6, 2020, https://mattikovler.com/about.

24 Jeffrey Kowalkowski ruth, rubric-rational; realisms-relationals (2011)

• Publisher: self-published • Timing: 15 minutes, 307 measures • Structure: one movement • Instrumentation and Range: o E-flat 1: F#3 to E6 o E-flat 2: F#3 to F6 o A Clarinet 1: G#3 to E6 o A Clarinet 2: G3 to F#6 o A Clarinet 3: F3 to D5 o A Clarinet 4: F#3 to E6 o Basset 1: Db3 to E6 o Basset 2: Db3 to F#6 o Bass 1: D#3 to F6 o Bass 2: D#3 to F6 o Bass 3: D#3 to F6 o Contrabass: E3 to A5 • Additional Instrument: synthesizer • Time Signatures: 1/4, 2/4, 3/4, 4/4, 5/4, 1/8, 3/8, 5/8, 9/8, 12/8

Jeffrey Kowalkowski (b. 1967) is Professor of Composition and Musicianship at DePaul University. His music has been performed by ensembles in the United States and Western Europe, including the Articular Facet and Chicago Scratch Orchestra ensembles that he co- founded. He received an Award of Artistic Achievement from the Helen and Tim Meier Foundation for the Arts in 2011, recognizing his over twenty years of compositional innovation. Some of his most notable works include his opera collaboration, “Bosch tapped the gas pedal and

25 the caprice moved forward,” which premiered in Hamburg in 1996, and his film scores, such as that of Patrick Meegan’s “Cinewava,” a short virtual reality and interactive play.28 ruth, rubric-rational; realisms-relationals was composed in 2011 for Rose Sperrazza and the Chicago Clarinet Ensemble. The work is through-composed, although certain compositional elements are evident throughout. Kowalkowski often layers legato melodic material over an ostinato, such as a rapidly-articulated single pitch. He also writes close imitation, with voices entering one beat after another starting a semitone apart. He experiments with rhythm in multiple ways, such as the polymeter created by a groove implying simple duple meter against the written 5/8 time signature, or hemiola formed by two-beat groupings in 9/8. Textural techniques such as hockets, composite motives, and terraced cluster chords are also quite prominent, especially towards the end of the work. The synthesizer part is required, as the work cannot be done without it. While it often doubles various clarinet parts in unison or octaves, there are two sections of note–a brief synthesizer solo and a hocketing duo with the contrabass–where the synthesizer has unique material.

Theresa Martin Recombobulation (2016)

• Publisher: Potenza Music • Timing: 7 minutes and 15 seconds, 197 measures • Structure: one movement • Instrumentation and Range: o E-flat: F3 to C#6, 2 required o B-flat 1: G3 to E6, 2 required o B-flat 2: F3 to D6, 2 required o B-flat 3: F3 to C6, 2 required o Alto: F3 to A5, 2 required

28 “Jeffrey Kowalkowski,” DePaul University School of Music, accessed February 26, 2020, https://music.depaul.edu/faculty-staff/faculty-a-z/Pages/jeffrey-kowalkowski.aspx.

26 o Bass: D3 to Bb4 o Contralto: C4 to C5 o Contrabass: F3 to E5 • Time Signatures: 3/4, 4/4, 5/4, 6/8, 9/16, 12/16

Theresa Martin (b. 1979) is a clarinetist and composer currently residing in Appleton, Wisconsin. She has a doctorate in composition from the University of Michigan, where she studied with Michael Daugherty, William Bolcom, and Evan Chambers, and received additional studies in clarinet from Deborah Chodacki. She also has two master’s degrees from Arizona State University, studying composition with Randall Shinn, James DeMars, Rodney Rogers, and Jody Rockmaker, and clarinet with Robert Spring. Her compositions have been performed at the International Clarinet Association’s “Clarinetfest,” Aspen Music Festival, and have received awards from the American Composer’s Forum and the American Society of Composers, Authors, and Publishers.29 Recombobulation was commissioned by Robert Spring and the Arizona State University Clarinet Choir, also named ClariZona, who performed the work at the 2016 Clarinetfest in Lawrence, Kansas. It was dedicated to the memory of Guido Six. Martin’s inspiration for the work stems from a sign she found in the Mitchell International Airport in Milwaukee that reads “Recombobulation Area,” which was meant to provide humor and relieve the stress of discombobulated travelers. In this work, she aims to depict musically some of the various coping strategies she uses to recombobulate, such as meditation, physical activity, and laughter.30 The opening section is characterized by its rhythmic activity, comprised of syncopations and dotted rhythms. As the piece progresses, the music shifts to a slower, lyrical style with a chorale-like texture in the B-flat clarinets. Martin then shifts the melodic material to the lower clarinets while B-flat clarinets 1 and 2 provide flowing sixteenth notes underneath. The section that follows then builds momentum through short sixteenth note passages played in one-beat imitation, gradually returning to a level rhythmic activity similar to the beginning. The final section maintains the energetic character with syncopated rhythms and imitative writing.

29 Theresa Martin, Recombobulation (Evansville: Potenza Music, 2016), program notes. 30 Ibid. 27 With the exception of occasional moments of imitation, Martin primarily incorporates homorhythmic writing throughout this work, with only two or three unique rhythms occurring at any given time and extensive use of doubling and parallel motion.

Zachary S. Neece Deep In The Mpingo Woods (2014)

• Publisher: self-published • Timing: 8 minutes, 181 measures • Structure: one movement • Instrumentation and Range: o Clarinet 1 (A and B-flat): Eb4 to G6 o Clarinet 2 (A and B-flat): C4 to G6 o Clarinet 3 (A and B-flat): G3 to G6 o Clarinet 4 (A and B-flat): F3 to D6 o Clarinet 5 (A and B-flat): F3 to D6 o Clarinet 6 (B-flat only): E3to A5 o Clarinet 7 (B-flat only): E3 to F#5 o Basset Horn 1: F#3 to C6 o Basset Horn 2: D#3 to G5 o Bass 1: E3 to G#5 o Bass 2: F#3 to G#5 o Contralto: C#3 to F#5 o Contrabass: E3 to B5 • Additional Instruments: , percussion: snare, triangle, mark tree, cowbell, bass drum, tambourine, hi-hat, bar chimes, triangle, tubular bells, glockenspiel), string bass • Time Signature: 4/4 • Extended Techniques: flutter tonguing, breathing and blowing through barrel without mouthpiece

28 Zachary Neece (b. 1954) is a pianist and composer currently residing in Gainesville, Florida. He has written solo and chamber literature for various ensembles including clarinets, , and strings, and aims to create signature melodies over dense harmonic layers.31 Deep in The Mpingo Woods was written for Michell Estrin and the University of Florida Clarinet Ensemble. The title is intended to be cryptic; the composer refrains from divulging his own thoughts about the work, instead, encouraging performers and listeners to come up with their own interpretations. “Mpingo” is the Swahili word for the grenadilla wood that modern clarinets are made out of.32 The piece is constructed in many smaller episodes with immediate transitions from one to the next. It begins with a fantasia-like introduction juxtaposing drones and long tones with bubbling sixteenth-note ostinato. The piece then quickly shifts into a swing style, complete with drum set accompaniment. Subsequent episodes include a lyrical melody with “calliope-like” accompaniment in the low clarinets, a driving section with unison sixteenth-note passages in the upper clarinets, and a chorale which closes the work. Deep in Mpingo Woods utilizes an expanded orchestration, most notably with seven distinct soprano parts, and the use of both contralto and contrabass clarinet, each with their own unique musical material. Performers and directors should also be mindful that players on the first five soprano parts need to switch from A to B-flat clarinet about halfway through the piece, which could present intonation problems due to the B-flat clarinets being played cold. Neece offers cues for each of these parts before their written entrance to softly double the lower clarinets as they warm their B-flat clarinets up. The piano and percussion parts are necessary for this work, as their parts rarely double the clarinets. Neece has published two versions of this work, with the second utilizing two additional B-flat clarinets instead of basset horns. However, the scoring differs between the two versions, meaning the eighth and ninth clarinet parts in the second version are not simply transpositions of the basset horn parts of the first.

31 “Zachary Neece,” Jeanné Inc., accessed January 19, 2020, https://www.jeanne-inc.com/Category/JP-ZNeece.html 32 Zachary Neece, Deep in The Mpingo Woods, (self-pub., 2014), program notes. 29 Sean Osborn Concertino for Two Basset Horns and Clarinet Orchestra (2017)

• Publisher: self-published • Timing: 13 minutes and 30 seconds, 401 measures • Structure: one movement • Instrumentation and Range: o Solo Basset 1: C3 to G6 o Solo Basset 2: C3 to F6 o E-flat: B3 to E6 o B-flat 1: E3 to G6, 2 players required o B-flat 2: F3 to E6 o B-flat 3: E3 to D6 o B-flat 4: E3 to G5 o Alto: G3 to G5 o Bass 1: D3 to Gb5 o Bass 2: C3 to Gb5 o Contrabass: C3 to D#5 • Time Signatures: 2/4, 3/4, 4/4, 5/4, 6/8 • Extended Techniques: flutter tonguing and pitch bending

Sean Osborn is known primarily for his career as an orchestral clarinetist, having performed with the Metropolitan Opera Orchestra, New York Philharmonic, Pittsburgh Symphony, Seattle Symphony, and the American Symphony Orchestra. He received his training from Stanley Hasty, Frank Kowalsky, and Eric Mandat. As a composer, he has written two for both orchestra and band, for oboe and trombone, chamber works, and clarinet solo literature, in addition to his two works for clarinet choir.33

33 Sean Osborn, “Sean Osborn’s Clarinet Bio,” Osborn Music, accessed January 31, 2020, https://www.osbornmusic.com/bio.html.

30 Concertino for Two Basset-Horns and Clarinet Orchestra was commissioned by the Capriccio Clarinet Orchestra of the Netherlands. While the piece is written as one continuous work, there are three movements embedded within following a standard fast-slow-fast form. The “first movement,” marked “Fast,” resembles a ternary form contrasting the syncopated and agile outer sections with a sustained lyrical melody in the middle. The “second movement,” “Slowly,” is characterized by swelling hairpins in the accompaniment while the soloists start on a unison melody and through Osborn’s notation gradually shift out of time to create phasing music. The final movement, “Waltz,” begins with a metered cadenza for the soloists, starting slowly and gradually speeding up until the ensemble joins them. This movement features frequent use of hocket techniques in both the solo and accompaniment parts, and shifts into 6/8 for an extended section featuring the ensemble. After the soloists return, the music metrically modulates back into 4/4, with the soloists playing scalar sixteenth flourishes. The ensemble gradually joins them with this motive, building intensity through to the end.

Meditation and Funk (2016)

• Publisher: self-published • Timing: 12 minutes and 30 seconds, 246 measures • Structure: two movements o I. Meditation o II. Mpingo Funk • Instrumentation and Range: o E-flat: Bb3 to A6 o B-flat 1: G#3 to B6 o B-flat 2: F#3 to F#6 o B-flat 3: E3 to F6 o Alto (B-flat 4 or Basset alternate): G3 to D#6 o Bass 1: F3 to A5 o Bass 2: C3 to G#5 o Contrabass: F3 to F5 • Time Signatures: 2/4, 4/4, 5/4, 6/4, 8/4, 6/8, 7/8, 11/8

31

Meditation and Funk won first place in the International Clarinet Association’s 2017 Composition Competition. The first movement, Meditation, begins with a solo B-flat clarinet call resembling a folk melody, with long sustains and grace notes. This call is answered by the low clarinets, responding with chant-like parallel fifths. The other voices gradually join in, either adding to the chant-like response or answering the call of the first clarinets. This creates a chaotic mass of sound, culminating in a cluster chord with all the upper clarinets in the altissimo. Following this climax, the piece concludes with a homorhythmic chorale utilizing the entire choir, voiced in planing seconds and thirds, ending with soft fragments of the opening call. The second movement, Mpingo Funk, begins in 5/4 with the second bass and contrabass clarinets establishing the meter with the middle voices (third B-flat, alto, and first bass) joining in on syncopated subdivisions. The melodic material is then mostly shared between the E-flat, first, and second parts, including solos with optional improvisation. As Osborn shifts the groove around in different meters such as 4/4 and 6/8, the movement settles into a steady 4/4 as he introduces a folk melody, Tanzania, Tanzania, in the first clarinets. After the folk melody, the piece returns to the original 5/4 groove, gradually fading away to a piano ending before one final forte “rip.”

Eric Rath with Pride and Grace (2009)

• Publisher: BRS Music, Inc. • Timing: 3 minutes and 45 seconds, 149 measures • Structure: one movement • Instrumentation and Range: o E-flat: Bb3 to A5 o B-flat 1: C4 to Ab5 o B-flat 2: G3 to E5 o B-flat 3: F3 to D#5 o Alto: Gb3 to G4 o Bass: F3 to D5

32 o Contralto: F3 to B4 o Contrabass: F3 to D5 • Time Signatures: 3/4, 4/4

Eric Rath is currently based in Texas, with degrees from West Texas A&M University. Rath has served as a band and orchestra director for middle and high schools, and previously served as an adjunct Percussion Instructor at Amarillo College. He has performed with the Amarillo Symphony Orchestra and Amarillo Opera and is a Yamaha Performing Artist. His compositions and arrangements are published by Alfred Music, FHJ Music, Tapspace Publications, The Percussion Studio, and TRN Music, and his music has been performed at the Midwest Clinic, the Texas Music Educator’s Association Convention and the International Double Reed Society’s Convention.34 with Pride and Grace was written for Andy Sealy and the Hebron High School Clarinet Choir, which performed the work at the 2009 Midwest Band and Orchestra Clinic.35 The work exhibits a dominantly driving and energetic character, with a motor rhythm of either eighth notes or a syncopated groove, which is present at all times. It roughly follows a ternary form, beginning with a bright, joyous, staccato opening, followed by a lyrical somber melody in the B section (still driven by syncopated grooves), which then transitions back to the material and character of the opening. with Pride and Grace is notably an approachable work for younger ensembles. With the exception of five measures in 3/4 before the recapitulation, the entire work stays in 4/4 at an unchanging tempo of 152, and the rhythms in each part only occasionally require divisions smaller than the eighth note. The tonal range for each part is compact, and no altissimo notes appear in any part. Rath also provides cues for E-flat and contralto clarinet to be covered by first B-flat clarinet and contrabass respectively in key moments where the parts are exposed, and all three bass clarinet parts (bass, contralto, contrabass) are doubled in either unison or octaves.

34 Eric Rath, “About Me,” Eric Rath Music, accessed February 18, 2020, http://www.ericrathmusic.com/. 35 “With Pride and Grace,” BRS Music, accessed February 18, 2020, http://www.brsmusic.net/with-Pride-and- Grace_p_2857.html.

33 Paul Richards A Butterfly Coughs in Africa (2003)

• Publisher: Jeanné Inc. • Timing: 5 minutes, 111 measures • Structure: one movement • Instrumentation and Range: o E-flat: Gb3 to G6, 2 required players o B-flat 1: E4 to G6, 3 required players o B-flat 2: F3 to E6, 2 required players o B-flat 3: E3 to C6, 2 required players o Basset (or Alto): Db3 to G5, 2 required players o Bass: C3 to C6, 2 required players o Contralto: E3 to A4 o Contrabass: D3 to G4 • Additional Instrument: String bass • Time Signatures: 3/4, 4/4, 5/4

Paul Richards was born in New York City in 1969 and is currently the Research Foundation Professor of Music and head of composition and theory at the University of Florida. His works have received recognition in competitions including the 2017 Flute New Music Consortium Competition, 2014 Columbia Summer Winds Outdoor Composition Competition, and the 2009 St. Mary’s University/Kaplan Foundation Composition Competition. He has received commissions from organizations such as the Jacksonville Symphony Orchestra, Southwest Florida Symphony Orchestra and Chorus, and the Boston Brass.36 His compositions range from works for solo and chamber ensembles to full operas, such as his Biennale and The Golem of Prague. A Butterfly Coughs in Africa was written for Mitchell Estrin and the University of Florida Clarinet Choir. According to the program note, the piece is meant to evoke the image of a

36 Paul Richards, “Biography: Paul Richards, DMA,” Paul Richards, composer, accessed January 22, 2020. https://paulrichardsmusic.com/biography.html. 34 butterfly being carried by the winds, which start as a gentle passing breeze and grow into a torrential storm as the butterfly is carried over the Atlantic.37 The work begins with a solo B-flat clarinet outlining an ascending minor seventh arpeggio, answered by an inversion of the figure in a solo E-flat clarinet. After a rhapsodic duet, the ensemble joins in as the tempo gradually accelerates from 56 bpm to a steady 96, maintained until the coda, which features a brief reprisal of the introduction followed by a driving finish. Richards employs many ostinatos throughout the work; the most prominent include sextuplet arpeggios, ascending sixteenth notes, and a hemiola motor rhythm (two eighth notes followed by an eighth rest). The pitch collections of these ostinatos often reflect the minor seventh arpeggio outlined in the introduction. He also uses composite passages, creating the effect of a flourish starting at the top of the E-flat’s range to the bottom of the contrabass, or vice versa. Because of the divisis within each part, the number of players Richards suggests are necessary, including both a contralto and contrabass player. Occasionally there are melodies played by only one or two players, so special care must be made to ensure they are heard over the fully-scored ostinatos. As Richards suggests, the string bass part is desirable, but ultimately optional, as the part mostly doubles the contralto and contrabass clarinets.

Daniel Rodier home. (2018)

• Publisher: self-published • Timing: 13 minutes and 30 seconds, 175 measures • Instrumentation and Range: o E-flat: F#3 to D6 o B-flat 1: E3 to G6, 2 required players o B-flat 2: E3 to G6, 2 required players o B-flat 3: E3 to G6, 2 required players

37Paul Richards, “A Butterfly Coughs in Africa,” Paul Richards, composer, accessed January 22, 2020 http://paulrichardsmusic.com/compositions/abutterfly.html.

35 o B-flat 4: E3 to G6, 2 required players o Alto: E3 to C6 o Bass 1: D3 to F5 o Bass 2: D3 to F5 o Contralto: Eb3 to F5 • Time Signatures: 2/4, 3/4, 4/4, 5/4, 6/4, 6/8, 12/8, 15/8 • Extended Techniques: timbral trills, slap tonguing (optional), pitch bending, blowing air through instrument (crescendo into tone), out of time cues/improvisation, clapping, walking, and playing off stage

Daniel Rodier is a New York City-based composer whose works have appeared in concert halls, film festivals, and art galleries. He earned his bachelor’s degree in composition from San Jose State University and is finishing a master’s degree at New York University; he has studied with Paul Chihara, Vivian Fung, and Richard Danielpour. He specializes in cross- disciplinary projects, often presenting his music with animators, choreographers, filmmakers, and visual artists. home. was commissioned by Dr. Janet Averett for the San Jose State University clarinet studio, who premiered the work on April 21, 2018. The piece is inspired by Rodier’s experience leaving his home and family, and the emotional struggle of finding one’s “home” as he traveled between new places. He aims to evoke feelings of comfort of one’s home, the thrills of a new environment, and the estrangement one feels when returning to a changed home. He additionally seeks to explore the full range of the clarinet ensemble, both in terms of pitch and extended techniques.38 The piece begins with an ethereal introduction, as it opens with an Ab-Eb dyad that crescendos from nothing. While this section contains mostly long tones and dynamic hairpins, sporadic sixteenth notes, flourishes, and timbral trills appear to create a feeling of unease. Following this introduction is a simple and gentle melody in clarinet 1, perhaps representing Rodier’s feelings of comfort from home. The section that follows uses pulsing ostinatos in the low clarinets to create a sense of driving motion, which gives way to an E-flat solo over aleatoric, out-of-time murmurs. Material from the introduction then returns, followed by a dance

38 Daniel Rodier, “home.” (self-pub., 2018), program notes. 36 based on the gypsy scale39. The “simple and gentle” section returns, with added material in other voices to possibly reflect the changes one witnesses when returning home, supported by Rodier’s markings of “broken, estranged” (m. 127) and reminiscent, but empty (m. 138). This section ends with a vamp, where players gradually leave the stage leaving one Clarinet 1 soloist to play a “lost, lonely” cadenza (m. 156). The other clarinets resume playing off stage in long sustained chords, gradually fading away to nothing. As notated above, all B-flat clarinet parts have divisions, requiring two clarinetists each, while the remaining parts can all be covered by one performer each. Ensemble directors should be aware of the extended solos, especially in the E-flat and first B-flat parts, with lesser but still exposed solos in alto and first bass clarinet.

Joe Rosen Tel Aviv Rag (2008)

• Publisher: Woodwindiana • Timing: 4 minutes and 30 seconds, 107 measures • Structure: one movement • Instrumentation and Range: o B-flat 1: G4 to F6 o B-flat 2: G3 to C6 o B-flat 3: F#3 to G5 o Alto: A3 to F5 o Bass: E3 to C5 o Contrabass: E3 to G4 • Time Signature: 2/4

While Joseph (Joe) Rosen is a physicist by trade, he has played clarinet and composed all his life. He mostly writes for band and clarinet ensemble, trying out his compositions and

39 The gypsy scale, also referred to as the Hungarian mode or Hungarian scale, is defined on Grove Music Online as “the scale type ‘C-D-Eb-F#-G-Ab-B-C,’ so called because of its use in Hungarian Romantic music (particularly the verbunkos and the csárdás).” 37 arrangements with the Montgomery Village Community Band and various clarinet ensembles of which he is a member. He credits most of his music education to the music classes he took at Tel Aviv University in Israel while he was there on the physics faculty. He was awarded second prize in a composition competition sponsored by Yad Hanadiv Foundation.40 While there is no concrete evidence in the program notes, Tel Aviv Rag’s title likely refers to Tel Aviv University. The work’s subtitle is “(A.K.A. Washington & Jefferson Rag),” but there is no information on what this refers to or contact information from the composer. Tel Aviv Rag is a moderate rag divided into two large sections, with the second section labeled as the trio, showcasing similarities to the American march form standardized by Carl King and John Philip Sousa. The first section features two strains, presented in a rounded binary form. The trio modulates to the subdominant and is in simple binary form. The piece includes syncopated ragtime rhythms in B-flat clarinets one and two, while the rest of the ensemble establishes a steady eighth-note accompaniment with the occasional syncopated sixteenth interjection at the cadences of the melody. This work is an appropriate challenge for a younger clarinet choir, as only the first clarinet contains altissimo pitches and the rhythmic activity is relatively simple compared to other works in this bibliography.

Kyle Rowan Northwest Corner (2010)

• Publisher: Penguinman Music • Timing: 5 minutes and 30 seconds, 181 measures • Structure: one movement • Instrumentation and Range: o E-flat: G4 to E6 o B-flat 1: C4 to G6 o B-flat 2: B3 to C6 o B-flat 3: B3 to Db6

40 Joseph Rosen, Tel Aviv Rag (Bloomington: Woodwindiana, 2008), program notes. 38 o B-flat 4: F#3 to D6 o Basset: C#3 to C6, alternate Alto Clarinet o Bass: Db3 to G#5 o Contralto: F#3 to G#5 o Contrabass: Eb3 to G#5 • Additional Instrument: string bass. • Time Signatures: 3/4, 4/4, 5/4, 3/8, 5/8, 6/8, 7/8

Kyle Rowan (b. 1985) has received degrees from the University of Florida (BM, 2007), University of Illinois (MM, 2009), and University of California – San Diego (PhD, 2016). He is primarily a composer of acoustic chamber music, but he has also written for instruments with electronic media, wind ensemble, orchestra, and voice.41 His opera, Not Quite a Sunset adapts principles of video game design with the ability for the listener to click hypertext links to choose the direction of the story and music.42 Northwest Corner was commissioned by Useon Bryan Choi for the University of Illinois Urbana-Champaign Clarinet Choir. The work was inspired by Rowan’s time working at a Walgreens on the northwest corner of a busy intersection in Champaign. In the composer’s words, the piece is “full of driving rhythms, sometimes jagged and halting, and sometimes running as smoothly as designed.”43 The piece begins with a brief 5/8 motive that will return multiple times to signal the beginning and end of different sections throughout the work. Rowan experiments heavily with rhythm in this piece, most notably with his juxtaposition of simultaneous duple and triple subdivisions. Rowan combines his use of this juxtaposition with varying articulation lengths to create the aforementioned feelings of jaggedness or smoothness. While the tempo of the eighth note remains constant, the time signatures change frequently.

41 Kyle Rowan, “About,” Penguinman Music, accessed January 18, 2020, http://penguinmanmusic.com/about/. 42 Kyle Rowan, “Not Quite a Sunset,” Penguinman Music, accessed January 18, 2020, http://penguinmanmusic.com/music/not-quite-a-sunset/. 43 Kyle Rowan, “Northwest Corner,” Penguinman Music, accessed January 18, 2020 http://penguinmanmusic.com/music/northwest-corner/ 39 The string bass part is optional, as it mostly doubles the contralto and contrabass parts with slight changes in octave placement. However, the contralto and contrabass parts are not always in unison, so both parts need to be covered.

Jonathan Russell Claremont Suite (2011)

• Publisher: self-published • Timing: 18 minutes and 30 seconds, 589 measures • Structure: three movements o I. Midnight Owl o II. Slow Loris o III. Les Éléphantes Dangereuses • Instrumentation and Range: o E-flat: F#3 to F#6 o B-flat 1: E3 to G#6 o B-flat 2: G3 to A6 o B-flat 3: E3 to F6 o Alto: E3 to B5, alternate B-flat 4 o Bass 1: D3 to C6 o Bass 2: C2 to Bb5 o Contrabass (or Bass 3, Contralto): D3 to G#5 • Time Signatures: 4/4, 3/4, 2/4, 12/8

Jonathan Russell has an active career as both a performer and composer. He has been a member of the Edmund Welles bass clarinet quartet and Sqwonk bass clarinet duo, both of which have recorded multiple albums and specialize in performing a diverse body of music ranging from Bach transcriptions to heavy metal-inspired compositions. He has also appeared as a soloist with the Hudson Valley Philharmonic, West Point Military Academy Band, and San Francisco Composers Chamber Orchestra, among others. As a composer, he has received commissions from ensembles including the San Francisco Symphony and Imani Winds. He has also developed

40 a reputation as a skilled arranger, as he has arranged works such as The Rite of Spring and The Planets for woodwind quintet and Purcell’s Dido’s Lament for bass clarinet ensemble.44 Claremont Suite was composed for the Claremont Clarinet Festival, where Russell was Composer-in-Residence. Each of the three movements are arrangements of tunes he originally wrote for other ensembles. The first movement comes from his Wind Octet (2011), while the second and third movements come from unspecified works for klezmer band.45 The first movement is introduced by thick chords utilizing the full ensemble, and is characterized by a juxtaposition of lyrical sustained melodies over staccato eighth-note ostinatos. The second movement is a slow klezmer dance, as the basses play a steady groove with the upper voices mostly moving in parallel motion. This movement also features a duet between the first B-flat and E-flat soloists, written with specific pitches and rhythms but meant to be played in a “free and improvisatory style.” The final movement is a klezmer dance at a brisk tempo broken into three sections: a scalar melody in 2/4 embellished by sixteenth and sextuplet flourishes, a slower 12/8 swing with jazz influence, and a return of material from the first section, incrementally accelerating to the end, emulating a folk dance that speeds up with each iteration. Russell’s writing in Claremont Suite, along with his other works for clarinet choir, utilizes the full range of each instrument. It is important to note that while the tessitura of the first B-flat part is higher than the second, the second part contains the highest written notes in the piece. The third movement provides a significantly more difficult technical challenge to players, as the primary theme in all parts is comprised of sixteenth and sextuplet passages reaching an ultimate tempo of 180 beats per minute.

Eleven (2010)

• Publisher: self-published • Timing: 10 minutes, 240 measures • Structure: one movement • Instrumentation and Range:

44 Jonathan Russell, “Bio,” Jon Russell Music, accessed January 30, 2020, https://jonrussellmusic.com/bio/. 45 Jonathan Russell, “Claremont Suite,” Jon Russell Music, accessed January 29, 2020, https://jonrussellmusic.com/works/claremont-suite/. 41 o B-flat 1: E3 to G6 o B-flat 2: E3 to G6 o B-flat 3: E3 to F#6 o B-flat 4: E3 to A6 o B-flat 5: E3 to C7 o B-flat 6: A3 to E6 o B-flat 7: B3 to B6 o B-flat 8: F#3 to Ab6 o B-flat 9: E3 to G6 o Bass 1: G3 to A#6 o Bass 2: C3 to B5 • Time Signatures: 2/4, 3/4, 4/4, 5/4, 6/4, 7/4, 8/4, 5/8, 10/8*, 16/8*, 21/8* o *metered cadenza for Bass 1 only • Extended Techniques: portamento

Eleven was written for the San Francisco Conservatory clarinet studio under the direction of Jeff Anderle, Russell’s collaborator in the Sqwonk bass clarinet duo. It was written for the studio as a companion piece to Steve Reich’s New York Counterpoint. The two pieces contain many similarities, such as the same instrumentation (nine B-flat clarinets and two basses), minimalism style, similar formal structure with three larger sections, and a reliance on phasing. In Russell’s own words, however, “I use very Reich-ish materials, but treat them in a freer, more narrative, more whimsical manner than he would.”46 As previously mentioned, Eleven is divided into three sections, with the first and third section sharing a similar character. These outer two sections are characterized by a weighty, highly-syncopated groove mostly in 4/4, while the middle section is in 6/4 and 7/4 at a brisker tempo with a prominent inclusion of phasing music. In a manner similar to New York Counterpoint, the first section slowly builds in dynamic intensity through gradually adding players, each entering with a unique minimalist groove. The final section also features hockets

46Jonathan Russell, “Eleven,” Jon Russell Music, accessed January 25, 2020, https://jonrussellmusic.com/works/eleven/ 42 between pairs of players to create fluid sixteenth-note lines, and invites musicians to play with an unfocused beginning clarinetist’s sound for an added edge to the ensemble’s sound. The piece requires eleven musicians of roughly equal playing level, both in terms of rhythmic precision and range capabilities. The rhythmic challenges of the piece include syncopations at both the eighth and sixteenth-note level and playing the same rhythm displaced by one beat to create a phasing effect. There is an extensive metered cadenza in the first bass clarinet part closing the middle section, which includes unusual time signatures such as 10/8, 16/8, and 21/8, and an extremely wide range, peaking at a written A#6.

Evil Robot Spooky Space Jam (2019)

• Publisher: self-published • Timing: 8 minutes and 30 seconds, 238 measures • Structure: one movement • Instrumentation and Range: o E-flat: E3 to G6 o B-flat 1: E3 to A6 o B-flat 2: E3 to G#6 o B-flat 3: E3 to F#6 o B-flat 4: E3 to A5 o Bass 1: E3 to C6 o Bass 2: C3 to C6 o Contrabass: C3 to C5, alternate Bass 3 • Time Signatures: 2/4, 3/4, 4/4

Jonathan Russell wrote this work for Jeff Anderle and the San Francisco Conservatory of Music Clarinet Studio, who premiered the work on July 26, 2019. Little is mentioned about the work on Russell’s website, as he states: “It’s Friday night. You’ve been working hard all week

43 for your evil alien overlords. Now it’s time to kick back with your fellow evil space robots and the Evil Robot Spooky Space Jam.”47 This piece shares similarities with Russell’s Eleven with its frequent use of minimalist grooves, driving syncopations, phase, and hockets. The work is divided into approximately six distinct sections with immediate transitions from one to the next. The first major section of the work features a lyrical E-flat clarinet solo in its upper registers over two distinct grooves, one in B-flat clarinets 1-3, and one in clarinet 4 and the basses. Following this is a section of wide leaps with staccato articulation in no discernible key, creating a collection of sounds evocative of robotic computer noises. The various grooves from these two sections return twice, contrasted by moments of smooth “poco klezmerando” and canon styles. The piece comes to an energetic close with a unison sixteenth-note passage and cascading flourishes. Consistent with Russell’s other works, Evil Robot Spooky Space Jam requires a high range and confident rhythmic precision of all players. The fourth B-flat part is unique in that it does not go into the altissimo, and most of its grooves fit with the bass clarinets, so it is possible that Russell wrote this voice to fulfill the role of a typical alto clarinet part. The E-flat clarinet part is exposed in the opening section, and includes long sustained altissimo notes and pitch bending.

Supra (2012)

• Publisher: self-published • Timing: 10 minutes, 243 measures • Structure: one movement • Instrumentation and Range: o B-flat 1: G3 to Eb6 o B-flat 2: Gb4 to A5 o B-flat 3: Gb3 to E#5 o B-flat 4: G3 to F5

47 Jonathan Russell, “Evil Robot Spooky Space Jam,” Jon Russell Music, accessed January 26, 2020, https://jonrussellmusic.com/works/evil-robot-spooky-space-jam/.

44 o B-flat 5: F3 to F5 o B-flat 6: E3 to D#5 o Bass 1: F3 to G#6 o Bass 2: Ab3 to F#6 o Bass 3: C3 to C6 • Time Signatures: 3/4, 4/4, 6/4

This piece was composed for ClarinetFest 2012, and is inspired by Georgian folk music, which fascinated Russell, who participated in a Georgian choir. The title, Supra, is the term for a traditional Georgian feast, which took place during birthdays, weddings, holidays, and other celebrations. The piece combines Georgian music harmonies with Russell’s minimalist style to loosely fit the narrative of the feast, evoking sunrises, prayers, the flow of food and drink, and dancing. The piece has been written for a clarinet choir of six clarinets and three bass clarinets, a bass clarinet nonet, low ensemble, and tuba-euphonium ensemble.48 This work contrasts Russell’s other clarinet compositions in that most of the work is lyrical in nature, due to the influence of Georgian folk songs. While there are moments with syncopated grooves, the melodic material is primarily based on whole notes and half notes. Consistent with Russell’s other works, each part has its own distinct groove, requiring rhythmic precision and a strong sense of pulse from every musician. If performed with six soprano clarinets and three bass clarinets, the range of the six B-flat parts is lower than Russell’s typical scoring, with only the first B-flat clarinet and first two bass clarinets required to play in the altissimo register. However, the bass clarinet version keeps the same concert pitches and octave designations, so the first six parts are all written one octave higher, resulting in extreme altissimo registers in these parts.

48 Jonathan Russell, “Supra: B-flat and Bass Clarinet Version” Jon Russell Music, accessed January 27, 2020 https://jonrussellmusic.com/works/supra-bb-clarinet-and-bass-clarinet-version/.

45 James Paul Sain A Brief View of Eternity (2006)

• Publisher: self-published • Timing: 5 minutes, 63 measures • Structure: one movement • Instrumentation and Range: o E-flat: A3 to F#6 o B-flat 1: A3 to B6 o B-flat 2: G3 to F#6, 2 required o B-flat 3: A3 to E6, 2 required o Basset: B3 to D5 o Bass: F3 to G#5 o Contralto: C4 to F6 o Contrabass: F3 to F5 • Time Signatures: 2/4, 3/4, 4/4, 5/4, 8/4, 5/8, 9/8 • Extended Techniques: vibrato

James Paul Sain (b. 1959) is Professor of Music at the University of Florida, where he teaches music theory and composition for both acoustic and electroacoustic music. He is also the founder and director of the annual Florida Electroacoustic Music Festival. His work in electroacoustic music has culminated in projects such as his techno-ballet, Ender’s Game, in 1994, where he collaborated with dance and electrical engineering colleagues to develop the MIDI Movement Module (M3) Dance Suit.49 His works have been performed at numerous national and international events, and he has presented his music and lectures all over the world. Sain’s music can be found in print from Brazinmusikanta and American Composers Edition, and recorded by labels including Capstone and NACUSA.50

49 “James Paul Sain,” University of Florida College of the Arts, accessed February 1, 2020, https://arts.ufl.edu/directory/profile/1923. 50 James Paul Sain, A Brief View of Eternity (self-pub., 2006), program notes. 46 A Brief View of Eternity was written in 2006 as an homage to Sain’s grandmother, Grace May Ayres, who passed away in 2002. It was meant to reflect her selfless love and the memories she shared of watching soldiers returning home by ship from World War I. The work is based on “Bethany,” a hymn tune by Lowell Mason written in 1856, which is often sung with a text loosely based on Genesis 28:11-12, “Nearer My God To Thee.” Military or Salvation Army bands would often play this tune for the wounded and dying soldiers as they returned home.51 The piece is lyrical in nature, marked “Introspective, (quarter)= 58-62.” Homophonic, chorale-like textures are prevalent, with occasional solo instruments breaking away from the ensemble. The rhythms are simple, and while the meter changes every two-to-three measures, the eighth-note subdivision always remains the same, and the eighth-note triplet is the shortest note value in the work. Only second and third clarinets are marked divisi to require at least two players, but almost all parts have a ‘solo’ marking at some point within the work.

John C. Skillman Three Tableaux After a Theme (2017)

• Publisher: self-published • Timing: 12 minutes, 277 measures • Structure: three movements o I. Prélude, Air o II. Allegro o III. Passacaglia • Instrumentation and Range: o E-flat: A3 to Eb6 o B-flat 1: D4 to E6 o B-flat 2: G3 to Eb6 o B-flat 3: G3 to E6 o Alto 1: A3 to C#6 o Alto 2: G3 to Bb5

51 Ibid. 47 o Bass 1: D#3 to C6 o Bass 2: D#3 to Gb5 o Contrabass: D3 to D5 • Time Signatures: 2/2, 3/2, 4/2, 3/4, 4/4, 5/4, 3/8

John Curtis Skillman is a trombonist and composer from Southport, North Carolina. He holds degrees in trombone performance from the University of North Carolina at Chapel Hill and the University of New Mexico. While in school, he studied composition with Allen Anderson at UNC and William Wood at UNM. He enlisted in the United States Army Bands as an electric bassist in 2010 and fronts the John Curtis Quintet, which specializes in jazz, soul, fusion, and funk music.52 Skillman’s Three Tableaux After a Theme was written in 2017. While there are no program notes, Skillman mentions on his website that this piece “explores the sonority of the large clarinet ensemble” and is “not for beginners!!”53 The first movement, “Prélude, Air,” begins with a rhythmic motive that serves as the primary theme of the movement. This movement is divided into two sections; the first characterized by a steady eighth note pulse and sextuplet flourishes at a moderate tempo and the second characterized by a sustained, chorale- like texture. “Allegro” features a motor of driving eighth notes with occasional dotted snaps and accents, with lyrical melodies being played over it. These snaps and accents occur without a consistent pattern, creating a disturbance of meter in a manner similar to “Augurs of Spring” from Stravinsky’s Rite of Spring. This is contrasted by ascending triplet hockets towards the end of this movement, before a return of the dotted snaps at the end. “Passacaglia,” as the title suggests, begins with a ground bass in the bass and contrabass clarinets. The variations gradually build intensity before the ground bass is transferred to the E-flat and first B-flat clarinets for one cycle. The basses then resume the ground bass as hocket sixteenth and sextuplet motives drive the music to the end. Most of the difficulty in executing this piece stems from its rhythmic complexity. As mentioned above, Skillman utilizes hocket to create large gestures that utilize the combined

52 John C. Skillman, “About Me,” John Curtis Music, accessed March 18, 2020, https://johncurtismusic.com/about- 2/. 53 John C. Skillman, “Compositions,” John Curtis Music, accessed March 18, 2020, https://johncurtismusic.com/compositions/. 48 range of multiple instruments. He also imposes both quadruple and sextuple divisions of the beat on top of each other at numerous points within each movement.

Eddie Sundra Love Like Windnoise (2014)

• Publisher: Potenza Music • Timing: 6 minutes, 116 measures • Structure: one movement • Instrumentation and Range: o E-flat: G4 to E6 o B-flat 1: E4 to E6, 2 required players o B-flat 2: C4 to D6, 2 required players o B-flat 3: E3 to D#6, 2 required players o Bass: E3 to B5 o Contralto: B3 to F5 • Additional Instruments: triangle, played by Clarinet 1 as the final note • Time Signatures: 2/4, 3/4, 4/4, 5/4

Eddie Sundra is the Associate Principal/Second/E-flat Clarinetist of the Richmond Symphony Orchestra. He has previously performed with the Philadelphia Orchestra, Hartford Symphony Orchestra, Charleston Symphony Orchestra, New World Symphony, and Ann Arbor Symphony, and has spent summers at the Aspen Festival and Eastern Music Festival. He studied clarinet with Anthony J. Costa at The Pennsylvania State University (B.M.) and Dan Gilbert and Chad Burrow at the University of Michigan (M.M.).54 While his career is primarily rooted in performance, Sundra is an active composer published by Potenza Music, and has special interests in writing both chamber and electronic music.

54 “Eddie Sundra,” Penn State School of Music, accessed February 14, 2020, https://music.psu.edu/spotlight/eddie- sundra-0. 49 The music in Love Like Windnoise was inspired by the music of Morton Feldman.55 The work was premiered in 2014 by the Penn State Clairnet Choir under the direction of Anthony J. Costa, during Sundra’s undergraduate studies at the university. The piece begins with a sighing descending fourth motive in the first B-flat clarinet, which the other B-flat and bass clarinetists imitate at various intervals. Stretto occurs as the spacing between imitations becomes smaller until all parts are moving together, briefly joined in homorhythmic motion. The texture then resets with the first clarinets with a slow arpeggiated motive. Other parts gradually join in with unique material and more active rhythms. The various rhythms create a sense of metrical unease, as sextuplets, quarter-note triplets, and duple eighth notes all occur simultaneously. This section exhibits a gradual increase in dynamic level and range, reaching a climax of a fortississimo dynamic marking with the B-flat and E-flat clarinets at their highest pitches, before a gradual diminuendo and rhythmic deceleration to the ending. The piece closes with pianissimo tremolos and drones.

Roger C. Vogel Cityscapes (2014)

• Publisher: Howard J. Buss Publications • Timing: 13 minutes • Structure: five movements o I. Morning Traffic o II. Riverfront o III. A Walk in the Park o IV. Skyline at Sunset o V. Nightlife • Instrumentation and Range: o E-flat: F#3 to G#6 o B-flat 1: G3 to E6

55 “Love Like Windnoise for Clarinet Choir,” Potenza Music, accessed March 9, 2020 https://www.potenzamusic.com/product/windnoise-clarinet-sundra/.

50 o B-flat 2: G3 to E6 o B-flat 3: F3 to C#6 o Alto: G3 to F6, alternate B-flat 4 o Bass: F3 to Bb5 o Contralto: D#3 to Eb6, alternate Bass 2 • Time Signatures: 3/4, 4/4

Dr. Roger Vogel (b. 1947) is Professor Emeritus of Music at the University of Georgia, where he served from 1976 to 2012, and holds degrees from The Ohio State University. He has written over 160 compositions, which have won awards in composition contests including the Roger Wagner Choral Composition Competition, the National Saxophone Workshop Composition Contest, and the National Flute Association’s Composition Competition. He has received commissions from organizations including the Georgia Music Teachers Association, Sigma Alpha Iota, and Phi Mu Alpha, among others.56 Cityscapes was commissioned by, and dedicated to, the Chattanooga Clarinet Choir in 2013. The piece is broken into five movements, each inspired by typical city scenes as described in the movements’ titles. The movements follow an alternating pattern of fast and slow tempi. Throughout all five movements, Vogel plays with the idea of splitting motives into fragments and passing them among various parts in quick succession. He additionally contrasts this with sections when all members of the ensemble play the same rhythm. Morning Traffic is characterized by its driving sixteenth-note passages, either serving as melody or an ostinato accompaniment. Dissonant chords utilizing the entire ensemble are also heard multiple times, simulating the sound of car horns. Riverfront features a prominent dotted rhythm motive in the accompaniment, juxtaposed by a bluesy triplet melody. Contrasting with all of this is the E-flat clarinet’s short brisk interjections, evoking the sound of bird calls. Walk in the Park begins with a dotted-eighth and sixteenth pattern, mixing dotted rhythms with triplets. This movement is in a modified ternary form, with a less rhythmically active middle section lacking the dotted and triplet rhythms that are present in the opening and end. Skyline at Sunset begins with a terraced chord and features lyrical melodies over sixteenth ostinatos, similar to the

56 Roger C. Vogel, “Homepage,” Roger C. Vogel, accessed Feburary 9, 2020, https://www.rogercraigvogel.com/.

51 first movement. Night Life makes extensive use of syncopation in its primary themes and accompanying grooves, in addition to the juxtaposition of dotted and triplet rhythms present in previous movements. The range of each part except for the bass clarinet reaches into the altissimo at numerous points throughout the work. However, Vogel often includes the option to take these passages down the octave. As dotted rhythms and triplets are often present either simultaneously or in quick succession, performers need to pay particular attention to rhythmic precision so the distinct rhythms do not sound the same.

52 CHAPTER FOUR CONCLUSION

While a significant portion of the clarinet choir’s repertoire was historically comprised of transcriptions and arrangements, a variety of original compositions have been composed for the ensemble over the past century. Many of the works listed in this bibliography were a result of commissions or were dedicated to an actively performing clarinet choir. Notable ensembles with multiple commissions in this bibliography include the University of Florida Clarinet Ensemble, Los Angeles Clarinet Choir, and the ClariZona Clarinet Choir of Arizona State University. As evidenced in this bibliography, the instrumentation of the clarinet choir differs from work to work. Although the B-flat soprano and bass clarinets are present in every ensemble- except for Gottschalk’s The Kaleidoscopic Pocket Hockets Boogaloo! for only bass clarinets-the remaining harmony clarinets are used to varying degrees. The E-flat sopranino clarinet is used fairly consistently, appearing in twenty-three of the twenty-eight works listed in this bibliography. With the exception of Osborn’s Concertino for Two Basset Horns, composers chose to either utilize the basset horn or alto clarinet, or elect to use neither. Similarly, the presence of the contralto and contrabass clarinets is typically mutually exclusive, with the exception of six of the twenty-eight works where both are included. These choices in orchestration are likely due either to the availability of the instruments by the premiering ensemble or the preferences of the director. For example, all works composed for the University of Florida Clarinet Ensemble opted for basset horns and contrabass clarinets instead of alto and contralto clarinets, but more notably, they also all included a string bass part. While each composer has his or her own unique style, certain trends recur. Many composers, including Jonathan Russell, Arthur Gottschalk, Paul Richards, and Jeffrey Kowalkowski utilize hocket or some other form of creating a composite motive or phrase from fragments in multiple parts. This compositional choice could be inspired by the homogenous sound achievable by an ensemble comprised of instruments from the same family, such as the clarinet choir. If executed properly, a composite motive could sound like it came from one clarinet with a tonal range from the contrabass’s chalumeau to the E-flat’s altissimo.

53 Many composers exploit the wide range of the clarinet, with several pieces requiring all clarinetists to play in the altissimo registers. This contributes to a wide tonal range achievable by the ensemble, although the altissimo register in the harmony clarinets may prove notably challenging for younger ensembles to execute with a centered tone quality and consistent intonation. This may indicate these works are to be performed by advanced undergraduate, graduate, and professional-level clarinet ensembles. In conclusion, the clarinet choir repertory has received notable contributions by American composers over the past twenty years as they explore the unique sound, virtuosity, and technical possibilities of the ensemble. Due to the nature of researching contemporary publications, there are likely a number works that have not been found or were inaccessible at the time of writing this treatise. Future research is encouraged to continue further discovery of compositions by both American and international composers, and to promote the performance of original modern repertoire for the clarinet choir.

54 APPENDIX A

TRANSPOSITION GUIDE FOR THE CLARINET FAMILY

Clarinet Interval of Transposition Example from a written C4

E-flat Soprano Minor 3rd (up) C4 → E-flat 4

B-flat Soprano Major 2nd C4 → B-flat 3

A Soprano Minor 3rd (down) C4 → A3

F Basset Horn Perfect 5th C4 → F3

E-flat Alto Major 6th C4 → E-flat 3

B-flat Bass Major 9th (2nd + octave) C4 → B-flat 2

E-flat Contralto Major 13th (6th + octave) C4 → E-flat 2

B-flat Contrabass Major 16th (2nd + two octaves) C4 → B-flat 1

55 APPENDIX B SAMPLE LIST OF ARRANGEMENTS FOR CLARINET CHOIR

All works included in this list satisfy criteria for the annotated bibliography (written by an American composer in the 21st century) except they are arrangements and not original compositions. For works where the original composer arranged the work him/herself, “Same” is listed in the “Arranger” column.

Composer Arranger Title Original Instrumentation or Source Basler, Paul Same Jambo Horn Choir Buss, Howard Same Brom Bones Trombone Ensemble Ewazen, Eric Same Two Festive Fanfares Ensemble Fernandez, Charles Same Circus Stroll Unknown Mellits, Marc Same ExtraSensory Saxophone Ensemble Perception Richards, Paul Same One Step at a Time Russell, Jonathan Same Bass Clarinet Bass clarinet and Concerto string orchestra Russell, Jonathan Same Bass Clarinet Double Two bass clarinets Concerto and string orchestra Traditional Christin Hablewitz Odessa Bulgar Klezmer folk Traditional Christin Hablewitz In That Distant Place Chinese folk Traditional Christin Hablewitz Y La Negra Bailaba Cuban folk

56 APPENDIX C SAMPLE LIST OF WORKS FOR SMALLER CLARINET ENSEMBLES

All works included in this list satisfy all criteria for the annotated bibliography (written by an American composer in the 21st century), except they were written for smaller clarinet ensembles between five and eight people. The number of required clarinetists is provided, in addition to the title and composer.

Composer Title Instrumentation Harberg, Amanda Tenement Rhapsody Octet Kowalkowski, Jeffrey Arepas Quintet (soloist and quartet) Mandat, Eric Ignorance and Blitz Quintet Mandat, Eric Pursuits of Happiness Sextet Mandat, Eric Ruff ‘em Up Quintet Mandat, Eric Three Hasty Studies Quintet McAllister, Scott Devil Sticks Quintet Mellits, Marc Prometheus Octet Neece, Zachary Fantasia for Five Clarinets Quintet plus piano and Piano Richards, Paul One Step at a Time Quintet Richards, Paul Stem Cell Septet (live or multitrack) Schwartz, Elliott Tribute: for Clarinet Sextet plus two percussionists Ensemble and Percussion Stark, Bruce Takumi’s Boogie Octet

57

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63 BIOGRAPHICAL SKETCH

Anthony Poehailos is a doctoral candidate in Clarinet Performance at the Florida State University College of Music. His previous degrees include an M.M. in Music Performance from The Pennsylvania State University (Penn State), and a B.M. in Music Education from James Madison University, where he was named the valedictorian of his graduating class. Poehailos’s performance credits include the Tallahassee Symphony Orchestra, Pennsylvania Chamber Orchestra (State College, PA), Williamsport Symphony Orchestra (PA), Heritage Theatre Festival (Charlottesville, VA) and Penn’s Woods Music Festival (State College, PA). Poehailos was awarded First Prize in the International Clarinet Association’s 2018 Orchestral Audition Competition in Ostend, Belgium for his performance of principal and bass clarinet orchestral excerpts. Additionally, while a graduate student at Penn State, he was honored as a co-winner of the Symphonic Wind Ensemble Concerto Competition and the performance category in the Penn State Graduate Exhibition. Poehailos served on the faculty at The Pennsylvania State University School of Music as Interim Lecturer of Clarinet in the Fall 2019 semester. Between his employment as a faculty member and a graduate assistant at his previous institutions, Poehailos has instructed clarinet lessons, studio classes, methods for music educators, chamber ensembles, and clarinet choirs at the collegiate level. He has also given guest artist masterclasses at Slippery Rock University, James Madison University, and Florida Agricultural and Mechanical University. Poehailos’s clarinet teachers include Deborah Bish, Jonathan Holden, Anthony J. Costa, Janice L. Minor, Anastasia Christofakis, and James Tobin. He holds memberships with Pi Kappa Lambda, the International Clarinet Association, National Association for Music Education, and Kappa Kappa Psi, and is an Eagle Scout of the Boy Scouts of America.

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