Benny Goodman's commissioning of new works and their significance for twentieth-century clarinetists. Item Type text; Dissertation-Reproduction (electronic) Authors Snavely, John Albert. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 01/10/2021 15:09:32 Link to Item http://hdl.handle.net/10150/185539 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films tile text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. 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Ann Arbor, MI48106 .: BENNY GOODMAN'S COMMISSIONING OF NEW WORKS AND THEIR SIGNIFICANCE FOR TWENTIETH-CENTURY CLARINETISTS by John Albert Snavely Copyright @ John Albert Snavely 1991 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements Fo~ the Degree of DOCTOR OF MUSICAL ARTS WITH A MAJOR IN PERFORMANCE In the Graduate College THE UNIVERSITY OF ARIZONA 1 9 9 1 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Final Examination Committee, we certify that we have read the dissertation prepared by -----------------------------------JOHN ALBERT SNAVELY entitled BENNY GOODMAN' S COMMISSIONIN~G_O;;;;F;....=;NEW=_.:W:;.;O:;:;RKS= __________ AND THEIR SIGNIFICANCE FOR TWENTIETH-CENTURY CLARINETISTS and recommend that it be accepted as fulfillin9 the dissertation requirement Date ~J Date 4/zf (eu Date Final approval and acceptance of this dissertation is contingent upon the candidate's subnission of the final copy of the dissertation to the Graduate College. read this dissertation prepared under my it be accepted as fulfilling the dissertation Date / 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under the rules of the Library. Brief quotations from this document are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. 4 ACKNOWLEDGMENTS Sincere thanks to the many individuals and publishers who enthusiastically contributed valuable information to this document. Eric Simon, a tutor of Goodman, provided letters to Paul Hindemith and Darius Milhaud regarding their concertos written "for Goodman. Reviews of Goodman's classical performances were obtained through the efforts of Harold Samuel and his staff, at the, Yale Music Library. Hope Kellman and Peter Bartok of Bartok, Records provided important letters written by Bartok and photocopies of Bart6k's draft and final manuscripts of Contrasts. Clarinetists Mitchell Lurie and Keith Wilson were inter­ viewed, as were composers Allen Shawn and Morton Gould. Goodman's daughter, Rachel Edelson, completed a written questionnaire. Professor Jerry Kirkbride is thanked for his tireless dedication and many suggestions for this project. Profes­ sors William Dietz, Elizabeth Ervin and Warren Sutherland reviewed the document and gave useful suggestions. Russell Connor and James Lincoln Collier deserve credit for their fastidious research of Benny Goodman's life and musical accomplishments, as well as Vivian Perlis for her documentation of Aaron Copland's career. I wish to acknowledge the assistance of the following publishers and their representatives, and thank them for permission to include excerpts from their published editions in this document: Boosey and Hawkes, Inc. (Sylvia Goldstein); European American Music (Amy Guskin); G. Schirmer, Inc. (Eddie Matthew and Laura Branco); Galexy Music (E. C. Schirmer); and Theodore Presser Co. (Judith Ilika). My most sincere appreciation belongs to my clarinet teachers: Jimmy Glasgow, Dr. Sam Fain, Phillip Rehfeldt, John Denman, Ron DeKant, Keith Stein, Dr. Charles Aurand, and Jerry Kirkbride. Special thanks is deserved by Dr. Jane Orient and Leila Sheehab for their translations of letters written by Paul Hindemith and Darius Milhaud. My wonderful wife, Ruth Snavely, and children Jeremy John, Keith Noah, Emily Jane, and William Nicholas are thanked and commended for their patience and valuable assis­ tance during the research and development of this document. Phyllis Orient assisted by proofreading this document and Arlene Lord of Pima Community College is thanked for her de­ dication and contribution to the final form of this project. My mother, Mar.y Snavely, is thanked for her continual support and encouragement. 5 TABLE OF CONTENTS Page Final Examining Committee Approval Form. • 8 • • 2 Statement by Author. • • • • • • • • • • • • • • 3 Acknowledgments. • • • • • • • • • • 4 Abstract • • • • • • • • • • • • • • • • • • 6 Introduction • • • • • • • • • • • • • • • 8 Chapter 1 Goodman's Training and Jazz Music Career. • • • 10 Jazz Career. • • • • • • • • • • 12 Chapter 2 Goo dman 's Classical Performance Career. • • • 16 Chapter 3 Works for Clarinet Commissioned by Goodman. • • 26 Contrasts for Violin. Clarinet and Piano by B~la Bart6k • • • • • • • • • • • • 30 Concerto for Clarinet and Orchestra by Dari us Milha ud. • • • • • • • • • • 41 Concerto for Clarinet and Orchestra by Paul Hindemith. • • • • • • • • • • • • • • 55 Concerto for Clarinet and Strins Orchestra by Aaron Copland. • • • • • • • • • 71 Derivations for Clarinet and Band by Morton Gould. • • • • • • • • • • 78 Concerto for Clarinet! Cello! and Orchestra by Allen Shawn. • • • • • • • • • • • • • 85 Chapter 4 Conclusions • • • • • • • • • 94 Concluding Statement. • • • • • 104 Bibliography • • • • • • • • • • 107 6 ABSTRACT Benjamin David (Benny) Goodman known for his unique style of jazz clarinet performance and the acclaimed "King of Swing" began studying and performing standard clarinet repertoire after becoming firmly established as a jazz musician. Goodman's thirst for new works and d~sire to become a recognized concert artist led to a series of commissions from noted composers of the twentieth century. The works created as a result of these commissions have received varied acceptance, yet are important contributions to clarinet repertoire. Some of the works included in this study have been described in other studies, yet no other study exists which summarizes the history, nature and import of non-jazz works commissioned by Goodman. This study is divided into four chapters. Chapter one summarizes Goodman's early musical training and the estab­ lishment of his jazz career; chapter two summarizes Good­ man's study and performance of standard clarinet repertoire; and chapter three includes a d~scription of each commis­ sioned work in terms of history and musical style. Reviews, especially of premiere performances, are noted and summar­ ized. The concluding chapter includes evaluative comments by recognized clarinetists about these works, documentation of recent rentals of their accompaniments, and a survey of current recordings available for each work. 7 Works included in the study are: Contrasts for Violin, Clarinet, and Piano by Bela Bart6k; Concerto for Clarinet and String Orchestra by Aaron Copland; Concerto for Clarinet and Orchestra by Paul Hindemith; Concerto for Clarinet and Orchestra by Darius Milhaud; and Derivations for Clarinet and Band by Morton Gould. An unpremiered Concerto for flarinet. Cello. and Orchestr~ by Allen Shawn is described. Letters written by composers Bela~ Bartok,/ Paul Hindemith, Morton Gould, Darius Milhaud, and Allen Shawn concerning their commissioned works were collected and are summarized. These letters along with the reviews of premiere performances, statements by noted clarinetists,