CALIFORNIA STATE UNIVERSITY, NORTHRIDGE The Importance of Harmonic Analysis to Inform Twentieth-Century Clarinet Performance Practice A thesis submitted in partial fulfillment of the requirements For the Master of Music in Music, Performance By Shannon N. Thomas August 2018 The thesis of Shannon N. Thomas is approved: Dr. Lawrence Stoffel Date Dr. Arthur McCaffrey Date Dr. Julia Heinen, Chair Date California State University, Northridge ii TABLE OF CONTENTS Signature Page ................................................................................................................................ ii List of Examples ............................................................................................................................ iv List of Tables ................................................................................................................................. vi Abstract ......................................................................................................................................... vii Introduction .................................................................................................................................... 1 1. Suite from L’Histoire du Soldat, arr. for Clarinet, Violin, and Piano; Igor Stravinsky (1918-1920) .............................................................................................. 3 2. Three Preludes; George Gershwin (1926), arr. for Solo Clarinet and Piano by Charles Neidich (2014) ................................................................................................ 21 3. Sonata for Clarinet and Piano; Arnold Bax (1935) ................................................................... 32 4. Concerto for Clarinet and String Orchestra with Harp; Aaron Copland (1950) ....................... 43 5. Wings for Solo Clarinet; Joan Tower (1983) ............................................................................ 55 Conclusion .................................................................................................................................... 75 Bibliography ................................................................................................................................. 76 iii Index of Examples Bax, Arnold, 32–42, pgs. of score pg. 1, Example 23 and 24, 34 pg. 3, Example 25, 35 pg. 4, Example 26, 36 pg. 6, Example 27, 36 pg. 7, Example 28, 37 pg. 8, Example 28, 37 pg. 11, Example 29, 38 pg. 13, Example 30, 39 pg. 14, Example 31–32, 40 pg. 16, Example 33, 41 pg. 20, Example 34, 41 Copland, Aaron, 43–54, pgs. of score pg. 2, Example 35, 45 pg. 4, Example 36, 45 pg. 5, Example 37, 46 pg. 10, Example 38, 47 pg. 11, Example 40, 50 pg. 12, Example 40, 50 pg. 16, Example 41, 51 pg. 17, Example 41–42, 51-52 pg. 23, Example 43, 53 pg. 27, Example 44, 54 Gershwin, George, 21–31, pgs. of score pg. 3, Examples 14–16, 23–24 pg. 4, Example 16, 24 pg. 6, Example 17, 25 pg. 7, Example 18–19, 26 ̶ 27 pg. 8, Example 20, 28 pg. 9, Example 21, 29 pg. 10, Example 22, 30 Rice, Albert, pg. from book pg. 45, Example 39, 49 Stravinsky, Igor, 3–20, pgs. of score pg. 1, Example 1, 7 pg. 4, Example 2, 8 pg. 6, Example 3, 9 pg 9, Example 4, 11 pg 10, Example 5, 12 pg. 11, Example 6, 13 pg. 13, Example 7, 14 iv pg. 16, Example 8, 16 pg. 18, Example 9, 16 pg. 22, Example 10–11, 17 pg. 24, Example 12, 18 pg. 26, Example 13, 19 Joan Tower, 56–73, visual graphic analysis, Example 58, 71 pgs. of score pg. 1, Examples 45–47, 60–62 pg. 2, Examples 48–50 & 59–60, 62–64, 72 pg. 3, Examples 51–52, 65 pg. 4, Example 53, 66 pg. 5, Example 54, 67 pg. 6, Example 55 & 61, 68, 73 pg. 7, Examples 56–57, 69–70 v List of Tables Bax, Arnold Molto moderato, Table 3.1, 33 Vivace, Table 3.2, 38 Copland, Aaron Movement 1, Table 4.1, 44 Movement 2, Table 4.2, 49 Gershwin, George Prelude I, Table 2.1, 22 Prelude II, Table 2.2, 26 Prelude III, Table 2.3, 29 Stravinsky, Igor “The Soldier’s March,” Table 1.1, 6 “The Soldier’s Violin,” Table 1.2, 9 “A Little Concert,” Table 1.3, 10 “Tango ̶ Waltz ̶ Ragtime,” Table 1.4, 15 “The Devil’s Dance,’ Table 1.5, 19 Tower, Joan Table 5, 59 vi Abstract The Importance of Harmonic Analysis to Inform 20th-Century Clarinet Performance Practice By Shannon Thomas Master of Music in Music, Performance The 20th century has given rise to many prominent and substantial clarinet works, rich in harmonic complexity and unique historical contexts. For a clarinetist, an understanding of the theoretical construction of any piece is crucial to creating informed and intentional performances. However, some artists today might not delve into the complexities of 20th-century musical styles, and because of this, they would miss the opportunity to re-create unique and well-crafted compositions from a time not too distant from their own. For clarinet works written in the 20th century, a performing artist must be just as diligent as ever to use in-depth harmonic and historical analysis to inform their performance approach. vii Modernism, neoclassicism, and many other musical movements of the past century have yielded clarinet repertoire that demands great attention from any performer, and to play these pieces well, it does not suffice for a clarinetist to possess minimal musical knowledge. Through the analysis of five clarinet works that were written at various points of the 20th century, the author will display how a deeper understanding of complex musical analysis and historical knowledge can significantly determine the success of performances given by today’s clarinetists. Harmonic analyses, reception histories, and reflections of composers and performers will be used to achieve this goal, and from this research, the author will also be able to illustrate how an artist can use this knowledge to accomplish musically informed performances that honor 20th- century clarinet masterworks. viii INTRODUCTION When endeavoring to gain a further understanding of any piece, harmonic analysis is a first step in gaining knowledge of its structure, syntax, and intricacies. Some composers during the twentieth century, such Milton Babbitt, felt that harmonic understanding of their pieces was crucial to being able to be a good audience member of their works, let alone a successful performer.1 This was not true of all composers of this century, though it can be said that many composers in the twentieth century utilized various modes of musical communication that were not always prevalent in previous centuries. Clarinet repertoire from the century is no exception, for clarinet masterworks from that time vary in style, genre, and harmonic language. The harmonic vocabularies prevalent in twentieth-century works make analysis a more complex endeavor, though analyzing music from any time period can be difficult. However, harmonic analysis is required in order for a clarinetist to give an informed performance. Harmonic analysis, including of a twentieth-century work, can reveal details in a piece that can enhance not only the music itself, but any musical statements that composers want to convey to an audience through their music. Knowing how harmonic languages such as Neo-Classicism, jazz, serial composition, and Neo-Romanticism affected twentieth-century clarinet works will help modern clarinetists give performances that not only honor the compositions, but also the musical messages composers want to convey to their audiences through the clarinet idiom. An analysis of five clarinet compositions are presented in this paper. The compositions analyzed come from various points of the twentieth century. These works are Igor Stravinsky’s Suite from L’Histoire du Soldat arranged for violin, clarinet, and piano by the composer (1918 1920); George Gerswhin’s Three Preludes (1926), arranged for clarinet and piano by Charles Neidich (2014); Arnold Bax’s Sonata for Clarinet and Piano (1935); Aaron Copland’s Concerto 1 Milton Babbitt, “Who Cares if You Listen?” High Fidelity 8, no. 2 (February 1958): 38. 1 for Clarinet and String Orchestra with Harp (1950); and Joan Tower’s Wings for Solo Clarinet (1983). 2 1. Suite from L’Histoire du Soldat, by Igor Stravinsky; arr. for Violin, Clarinet and Piano by the Composer (1918–1920) Context At the end of 1917, Igor Stravinsky moved to Switzerland to escape the tensions of the World War I and the communist revolution, which had recently taken hold in his native Russia. Cut off from Sergei Diaghilev and his other main employers, Stravinsky was left with no large prospects to provide income. Stravinsky describes his period in Switzerland as one of the hardest in his life. However, within the confines of isolation, Stravinsky and his colleagues came up with an idea. In his book Igor Stravinsky: An Autobiography, Stravinsky recounts how the idea came into being: We often met and sought feverishly for some means of escape from this alarming situation. It was in these talks that Ramuz and I got hold of the idea of creating a sort of little traveling theatre, easy to transport from place to place and show in even small 2 localities. Together with C. F. Ramuz (Swiss writer, acting librettist), Ernest Ansermet (conductor), and Rene Auberjonois (artist, set designer), Stravinsky sought to put his plan into action at the beginning of 1918. Low on funds, the group sought a wealthy patron, and after some time found M. Werner Reinhart, who financed the entire production. With all of the means they needed, they sought a small-member cast, and on September 28, 1918, they premiered the play in Lausanne, Switzerland. The group had planned