David Amram's Concerto for Violin and Orchestra (1974): An Exploration of Amram's Diverse Style Item Type text; Electronic Dissertation Authors Tagawa, Laura 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 05/10/2021 17:06:46 Link to Item http://hdl.handle.net/10150/297059 DAVID AMRAM’S CONCERTO FOR VIOLIN AND ORCHESTRA (1974): AN EXPLORATION OF AMRAM’S DIVERSE STYLE by Laura Tagawa __________________________ Copyright © Laura Tagawa 2013 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2013 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Laura Tagawa, titled David Amram’s Concerto for Violin and Orchestra (1974): An Exploration of Amram’s Diverse Style and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. _______________________________________________________________________ Date: 5/2/13 Mark Rush _______________________________________________________________________ Date: 5/2/13 R. Thomas Patterson _______________________________________________________________________ Date: 5/2/13 Donald Hamann Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. ________________________________________________ Date: 5/2/13 Document Director: Mark Rush 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of the requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this document are allowable without special permission, provided that an accurate acknowledgement of the 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. SIGNED: Laura Tagawa 4 ACKNOWLEDGEMENTS I would like to express my sincerest appreciation to the many individuals whose assistance made the completion of this document and degree possible. I am thankful for the support, patience and encouragement of my husband, Toru Tagawa, along this journey. Also, to my parents for their love and support through the years. I would like to thank Professor Mark Rush, both as my advisor and violin professor, who encouraged me along the way. Also to my committee members, Professor Thomas Patterson and Dr. Donald Hamann, for their help and advice. I am thankful to the composer, David Amram, both as a musician and wonderful human being for being an inspiration to all who have the honor of playing his music. 5 DEDICATION Dedicated to my parents, Paul and Dorothy Caputo to my husband, Toru Tagawa and to my son, Max 6 TABLE OF CONTENTS LIST OF FIGURES .............................................................................................................7 LIST OF MUSICAL EXAMPLES ......................................................................................8 ABSTRACT .........................................................................................................................9 CHAPTER 1 INTRODUCTION ......................................................................................10 Survey of Literature .......................................................................................................13 CHAPTER 2 BIOGRAPHY OF DAVID AMRAM ........................................................16 CHAPTER 3 COMPOSITIONAL STYLE ......................................................................27 CHAPTER 4 DAVID AMRAM’S CONCERTO FOR VIOLIN AND ORCHESTRA (1974) .................................................................................................................................35 I. Allegro moderato ........................................................................................................37 II. Blues: Andante espressivo ........................................................................................44 III. Celtic Rondo: Allegro con brio ................................................................................49 CHAPTER 5 CONCLUSION...........................................................................................78 APPENDIX A. TRANSCRIPT OF DAVID AMRAM INTERVIEW ..............................82 APPENDIX B. PERMISSION FOR INCLUSION OF MUSICAL EXAMPLES ..........101 APPENDIX C. IRB PERMISSION .................................................................................102 APPENDIX D. PERMISSION FOR INCLUSION OF INTERVIEW ...........................103 REFERENCES ................................................................................................................105 7 LIST OF FIGURES Figure 1. Form chart of the first movement .......................................................................37 Figure 2. Form chart of the second movement ..................................................................44 Figure 3. Form chart of the third movement ......................................................................51 Figure 4. Third movement, chart of C section folk melodies, measures 164-171 .............58 8 LIST OF MUSICAL EXAMPLES Musical Example 1. First movement, first theme, alternation of F natural and F sharp, measures 9-14 ....................................................................................................................38 Musical Example 2. First movement, second theme, measures 40-48 ..............................40 Musical Example 3. First movement, violin glissandi, measures 62-64 ...........................42 Musical Example 4. Second movement, saxophone theme, measures 1-12 ......................45 Musical Example 5. Second movement, violin improvisatory theme, measures 25-36 ....46 Musical Example 6. Third movement, A section rondo theme, measures 1-20 ................52 Musical Example 7. Third movement, B section theme, measures 91-105 .......................55 Musical Example 8. Third Movement, “Johnny, I Hardly Knew Ye,” flute, oboe, English horn, measures 130-134 ........................................................................................56 Musical Example 9. Third Movement, C section theme, “Ellen O’Grady,” measures 164- 171......................................................................................................................................57 Musical Example 10. Third movement, “Fox Hunt” section, layering of folk melodies, measures 180-210 ..............................................................................................................60 Musical Example 11. Third movement, “Howling” section, orchestra, measures 211- 226......................................................................................................................................72 9 ABSTRACT This document examines David Amram’s (b. 1930) diverse compositional style, as represented by his Concerto for Violin and Orchestra (1974). Amram’s unique background as a performer in various genres allows him to blend styles seamlessly. He highlights the use of a wide range of styles in this work, which makes this concerto a significant work in the twentieth century, American violin concerto repertoire as well as bridging the classical, jazz, and world genres creating a truly American style of music. This document examines how these influences—including classical, jazz, world music, and “Beat Generation” artists—have influenced David Amram’s compositional style as represented in his Concerto for Violin and Orchestra. Biographical information about David Amram, including his life, compositional output, and a brief musical analysis with an emphasis on performance information useful to violinists are presented. In addition an interview with Amram was conducted, in which his compositional style and in particular his Concerto for Violin and Orchestra was discussed. A transcript of the interview is provided in the Appendix of this document. 10 CHAPTER 1 INTRODUCTION Composers throughout the centuries have drawn inspiration from native folk traditions and the music of other cultures. Recent examples of this in America can be seen in the music of Aaron Copland and George Gershwin. Each turned to the American vernacular—for Copland folk music and for Gershwin jazz—to ground their music in American culture and give their music a sense of place. One modern composer known for his use of a wide variety of musical styles in his works is David Amram (b. 1930). Throughout his career, David Amram has been active as a performer, conductor, and composer, and has worked in a variety of styles ranging from jazz to classical. He has extensive experience as a classical horn player, having played with the National Symphony Orchestra in Washington D.C. and as a member of the Seventh Army Symphony Orchestra in Europe.1 A pioneer jazz horn player, Amram has played with many