University of Kentucky UKnowledge Theses and Dissertations--Music Music 2018 PARTNERSHIPS AND CREATION: A BRIEF HISTORY OF CLARINETIST-COMPOSER PARTNERSHIPS AND HOW THEY CONTRIBUTED TO CLARINET LITERATURE, AND THE INFLUENCE OF ROBERT SPRING ON CONTEMPORARY COMPOSITIONAL OUTPUT FOR THE CLARINET Adria Leigh Sutherland University of Kentucky, [email protected] Author ORCID Identifier: https://orcid.org/0000-0003-0487-5077 Digital Object Identifier: https://doi.org/10.13023/ETD.2018.080 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Sutherland, Adria Leigh, "PARTNERSHIPS AND CREATION: A BRIEF HISTORY OF CLARINETIST- COMPOSER PARTNERSHIPS AND HOW THEY CONTRIBUTED TO CLARINET LITERATURE, AND THE INFLUENCE OF ROBERT SPRING ON CONTEMPORARY COMPOSITIONAL OUTPUT FOR THE CLARINET" (2018). Theses and Dissertations--Music. 111. https://uknowledge.uky.edu/music_etds/111 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. 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Adria Leigh Sutherland, Student Dr. Scott Wright, Major Professor Dr. Michael Baker, Director of Graduate Studies PARTNERSHIPS AND CREATION: A BRIEF HISTORY OF CLARINETIST-COMPOSER PARTNERSHIPS AND HOW THEY CONTRIBUTED TO CLARINET LITERATURE, AND THE INFLUENCE OF ROBERT SPRING ON CONTEMPORARY COMPOSITIONAL OUTPUT FOR THE CLARINET __________________________ D.M.A./Musical Arts Project __________________________ A D.M.A. Project submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the College of Fine Arts at the University of Kentucky By Adria Leigh Sutherland Lexington, KY Director: Dr. Scott Wright, Associate Professor of Clarinet Lexington, KY 2018 Copyright © Adria L. Sutherland 2018 ABSTRACT OF D.M.A./Musical Arts Project PARTNERSHIPS AND CREATION: A BRIEF HISTORY OF CLARINETIST-COMPOSER PARTNERSHIPS AND HOW THEY CONTRIBUTED TO CLARINET LITERATURE, AND THE INFLUENCE OF ROBERT SPRING ON CONTEMPORARY COMPOSITIONAL OUTPUT FOR THE CLARINET Throughout the history of the clarinet, there have been performers who have inspired composers to write pieces specifically for them. These contributions to clarinet literature have been significant, frequently resulting in an overall shift in the expectations of performers’ abilities, and expanding the range of possibilities for composers. This document first describes the relationships of the following composers and clarinetists, and their resulting impact on clarinet literature: Karl Stamitz and Joseph Beer, Wolfgang Amadeus Mozart and Anton Stadler, Louis Spohr and Simon Hermstedt, Carl Maria von Weber and Heinrich Baermann, Johannes Brahms and Richard Mühlfeld, and the numerous commissions of Benny Goodman by some of the most highly-regarded composers of his time. The main purpose of this document is to examine a contemporary clarinetist who has contributed considerably to the repertoire of the clarinet both through his virtuosic performances and his own commissions, Robert Spring. Dr. Spring’s playing, particularly on the release of Dragon’s Tongue (1994), astonished listeners and composers alike, most notably with his mastery of extended techniques such as circular breathing and double tonguing. Within this document is a biography of Dr. Spring, focusing on his early life, his musical training and education, and his work. Additionally, a list of works that he has commissioned with annotations where applicable is included, along with detailed comments on the partnership with Dr. Spring and the resulting creations from composers Stacy Garrop, Eric Mandat, Theresa Martin, Scott McAllister, Whitney Prince, Rodney Rogers, Peter Schickele, and William O. Smith. It is my belief that future scholars will be able to place him within the long line of composer- clarinetist partnerships that have advanced not only the clarinet’s solo and chamber literature, but also the scope of performance techniques required of clarinetists. KEYWORDS: clarinet, Robert Spring, commission, partnership, literature Adria Leigh Sutherland April 6, 2018 Date PARTNERSHIPS AND CREATION: A BRIEF HISTORY OF CLARINETIST-COMPOSER PARTNERSHIPS AND HOW THEY CONTRIBUTED TO CLARINET LITERATURE, AND THE INFLUENCE OF ROBERT SPRING ON CONTEMPORARY COMPOSITIONAL OUTPUT FOR THE CLARINET By Adria Leigh Sutherland _____Dr. Scott Wright_ _______ Director of D.M.A. Project _____Dr. Michael Baker_ _______ Director of Graduate Studies _____April 6, 2018 _______ Date ACKNOWLEDGEMENTS In writing this document, I have been incredibly grateful to have the opportunity to study one of my personal “clarinet heroes,” Dr. Robert Spring. I have listened to and admired recordings of Dr. Spring throughout my musical life, and it has been an honor to be able to write the first biography of him. My deepest thanks go to Dr. Robert Spring for his generosity, his willingness, and his time. I have truly enjoyed getting to know you throughout this process, and I look forward to continuing to do so. Many thanks as well to composers Stacy Garrop, Eric Mandat, Theresa Martin, Scott McAllister, Whitney Prince, Rodney Rogers, Peter Schickele, and William O. Smith for their willingness to participate, and for their wonderful stories and insights. I greatly appreciate my committee chair and mentor, Dr. Scott Wright, for encouraging me throughout this process. You have made such an enormous impact in my life, and working with you throughout this degree and project has been wonderful. Additionally, much gratitude goes to my committee members for their encouragement and counsel: Dr. Julie Hobbs, Dr. Lance Brunner, and Dr. Douglass Kalika, you are all deeply appreciated. Finally, my most sincere and heartfelt thanks must go to my extremely patient and loving family for their unconditional support and compassion. Greg, Eva, and Ella: you have been my tiny cheering section and my rock, and I could not have accomplished this without you. iii TABLE OF CONTENTS Acknowledgements .................................................................................................................................. iii List of Examples......................................................................................................................................... vi PART I: MONOGRAPH Chapter 1: Introduction ............................................................................................................................ 1 Chapter 2: Background of Composer/Clarinetist Relationships, and the Resulting ............................... 12 Compositions and Changes to Clarinet Literature Chapter 3: Robert Spring ......................................................................................................................... 24 - Early Life and Musical Beginnings ............................................................................................... 25 - Formal Education and Teaching Appointments .......................................................................... 28 - Early Influences in Music Performance and Teaching Philosophies ........................................... 32 - The Beginning and Development of Playing Contemporary Music ............................................ 33 - Dragon’s Tongue ......................................................................................................................... 36 - Commissions ............................................................................................................................... 37 - Leaving a Legacy ......................................................................................................................... 38 Chapter 4: Compositions Written for Robert Spring .............................................................................. 40 Chapter 5: Composers’ Styles and the Influence of Robert Spring ........................................................