RICHMOND MATTESON: EUPHONIUM INNOVATOR, TEACHER AND PERFORMER, WITH THREE RECITALS OF SELECTED WORKS BY FRESCOBALDI, BACH, SAINT-SAENS, HUTCHINSON, WHITE, AND OTHERS. Marcus Dickman, Jr., B.M.E., M.M. APPROVED: NWw V4 Major Professor 007k.00/ Committee mber Committee ember Dean of the College of Music Dean of the Robert B. Toulouse School of Graduate Studies 3~7q o'S7 RICHMOND MATTESON: EUPHONIUM INNOVATOR, TEACHER AND PERFORMER DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS By Marcus Dickman, Jr., B.M.E., M.M. Denton, Texas August, 1997 Dickman, Marcus, Jr., Richmond Matteson: Euphonium Innovator, Teacher and Performer, with Three Recitals of Selected Works By Frescobaldi, Bach, Saint-Sa~ns, Hutchinson, White and Others. Doctor of Musical Arts (Performance), August, 1997, 97 pp., 23 examples, 3 tables, 3 appendices, and bibliography. An examination is conducted of the life, career and musical styles of Richmond Matteson, an influential jazz euphonium and tuba performer of the twentieth century. The study includes a brief history of the euphonium's role in concert bands. A description of Matteson's background as a musician and clinician including education, influences and career changes will also be discussed. Analysis of Matteson's improvisational style and a transcription from the recording Dan's Blues is included. A formal analysis of Claude T. Smith's Variations for Baritone is provided, as well as a brief biography of the composer. Matteson's stylistic traits which Smith employed for the composition of Variations for Baritone are illustrated. The conclusion calls for further study of jazz styles by euphoniumists with more frequent performances of Variations for Baritone. Appendices include lists of Matteson's compositions and arrangements, a selected discography and a list of clinics and performances from 1982-1992. Tape recordings of all performances submitted as dissertation requirements are on deposit in the University of North Texas Library. iii ACKNOWLEDGMENTS I would like to recognize my colleagues, friends, teachers and family who gave their expertise, encouragement and selfless dedication during the completion of my terminal degree. Special thanks are given to: Donald Little who has given freely of his time and musicianship, and for his kind hospitality; Dr. Royce Lumpkin for his proofreading and helpful advice and guidance; Eugene Corporon for serving on my DMA committee; Peggy Heinkle-Wolfe who was extremely helpful in the theoretical portions of this study; and Dr. Priscilla VanZandt for proofreading and giving invaluable editorial suggestions. I would also like to thank Dr. William Prince, Barry Greene, and Kevin Bales for their assistance in the reproduction of the musical examples contained in this paper. I would like to thank my parents, Marcus, Sr., and Janet Dickman, for their encouragement and support through the long years of my college education. To my wife Patrice, and children, Jacob and Corrine, I dedicate this treatise. Their sacrifice throughout my studies are one of the main reasons I was able to complete my degree. A musical discussion without examples is unintelligible. I wish to thank Mr. Frank Fendorf at Wingert-Jones Music, Inc. for giving me permission to reproduce selected musical examples. Last of all, a special note of gratitude to Michelle Matteson for helping me to document the remarkable life and career of her husband. iv TABLE OF CONTENTS Page ACKNOW LEDGM ENTS .................................................................. iv RECITAL PROGRAMS..........................................vii LIST OF MUSICAL EXAMPLES ..................................................... xi LIST O F TABLES ............................................................................. xiii Chapter I. INTRODUCTION .......................................................... 1 II. A BRIEF HISTORY OF THE EUPHONIUM AND ITS ROLE IN THE AMERICAN CONCERT BAND...................3 III. RICHMOND MATTESON: PERFORMER, EDUCATOR, IN N OVATO R ............................................................... 10 IV. MATTESON'S CONTRIBUTION TO TUBA AND EUPHONIUM PERFORMANCE........................................24 V. THE VARIATIONS FOR BARITONE BY CLAUDE T. SM ITH ..................................................... 40 VI. CONCLUSION AND SUMMARY...................................57 V Appendices Page A. MATTESON'S COMPOSITIONS AND ARRANGEMENTS FOR JAZZ ENSEMBLE AND SOLOIST, FOR BRASS BAND AND SOLOIST, FOR BRASS BAND ALONE, PUBLISHED JAZZ ENSEMBLE COMPOSITIONS, AND TUBAJAZZ COMPOSITIONS AND ARRANGEMENTS......................61 B. SELECTED DISCOGRAPHY OF RICHMOND MATTESON..............................................68 C. MATTESON'S CLINICS AND CONCERTS 1982 - 1990..........70 BIBLIO G RA PH Y ............................................................................ 92 vi University of North Texas presents A Graduate Recital MARC DICKMAN, euphonium assisted by Evelyn Barthold, piano Monday, June 28, 1993 5:00 p.m. Concert Hall PROGRAM Concertino. .Julius No. Kiengel1 in B' Major, Opus 7 . arr. Leonard Falcone Canzona IIfor Basso Solo.......... Girolamo Frescobaldi LeCygne..................... Camille Saint-Saens arr. Leonard Falcone - pause - Sonatina........................... .. Warner Hutchison Barcarolle Et Chanson Bachique ........ .a ..Jules Semler-Collery Beautiful Colorado................... .' . 0Joseph DeLuca Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts vii University of North Texas present A Graduate Recital MARC DICKMAN, euphonium, bass-trombone accompanied by Evelyn Barthold, piano assisted by Larry Jones, trumpet - Bill Stowman, trumpet Tom Brantley, trombone 9 Marcia Spence, horn * John Rider, tuba Monday, June 12, 1995 5:00 pm Concert Hall Lyric Suite ...................................... Donald H. White Adagio cantabile Allegro guisto Andante sostenuto - Allegro energico Allegro Maestoso per trombone basso e pianoforte ............. Jan Koetsier Concert Variationsfor Euphonium and Piano ................... Jan Bach Var. I Capriccio Var. II Siciliano Var. III Ripresa Var. IV Scherzo Var. V Recitativo Var. VI Coro Var. VII Fuga Concerta 6 in Bb from the Violin Concert in E Major, BWV1042 ............ Johann Sebastian Bach Allegro arr. Ryohei Nakagawa Adagio Allegro assai Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts viii University of North Texas presents A Graduate Recital MARC DICKMAN, euphonium accompanied by Judi Rockey Bradetich, piano Monday, July 1, 1996 6:30 pm Concert Hall Fantasia..t.o..0...................................Gordon Jacob Pi ce en Forme de Habafiera........................MauriceRavel Morceau De Concours...............................J. Ed. Barat - pause - Le Fleurgue tu n'avaisjet. ........................... Georges Bizet Believe Me If All Those Endearing Young Charms............Simone Mantia arr. David Werden Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts ix University of North Texas -u -7 presents A Graduate Lecture Recital MARC DICKMAN, euphonium assisted by Steven Harlos, piano * Mike McGuirk, bass Rich Matschulat, drums Monday, April 14, 1997 6:30 pm Recital Hall RICHARD MATTESON: EUPHONIUM INNOVATOR, TEACHER AND PERFORMER WITH THREE RECITALS OF SELECTED WORKS.BY FRESCOBALDI, BACH, SAINT-SAENS, HUTCHINSON, AND WHITE Dan's Blues ................. Jack Petersen I (as performed by Rich Matteson on the album Easy Street, Four Leaf Records, FLC 5051, 1980) VariationsforBaritone ......... ...... Claude T. Smith Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts x LIST OF MUSICAL EXAMPLES Example Page 1. Transcription of Richmond Matteson's solo euphonium improvisation on "Dan's Blues ".....................28 2. Broken third pattern m. 1........................................................31 2a. Sequential third pattern mm. 81-83. ......................................... 31 2b. Sequential third pattern, upper range mm. 67-68.......................31 3. Use of sequence, chordal outline mm. 4-6..................................32 4. Three-note ascending motive m. 17. ......................................... 32 4a. Reuse of three-note motive with rhythmic displacement m m . 36 - 38 ............................................................................ 33 4b. Third occurrence of three-note motive mm. 65-66.......................33 5. Usage of raised and lowered ninths m. 2...................................34 5a. Repeated blues motive mm. 22-26................................................34 6. Linear ideas with chromatic approach tones mm. 7-11...............35 7. Rhythmic displacement mm. 47-51. ......................................... 35 8. Bebop scale and extreme upper register mm. 52-56. ................... 36 9. Use of extreme upper register. Ascending line to Bb5 m m . 77-80. ............................................................................... 36 10. Theme I, andante, Variations for Baritone mm. 9-19. ................ 45 10a. Theme II, allegro, Variations for Baritone, mm. 81-92...............45 11. Variations for Baritone. Entrance of soloist mm. 9-11................... 47 12. Continuation of Theme I and "Jazz Waltz" at Rehearsal B mm . 12-22 .............................................................................. 48 xi 13. Theme II, allegro mm.