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	Carl Gottlieb Reissiger (1798-1859) Forgotten Composer for the Clarinet Date: 2002-05 Creator: Coltman, Charles Arthur Description: Carl Gottlieb Reissiger was a successful German composer, conductor, and teacher in the first half of the nineteenth century. At the height of his career, he was Hofkapellmeister of theater and opera in Dresden, a position he held until his death. He was a composer of more than 200 works in a multitude of different genres. Today he is mainly known as a composer of opera, a small portion of his total output as a composer. He wrote approximately eighty piano solos, eighty collections of songs or duets, nine masses, and many smaller sacred choral works, as well as 27 piano trios, seven piano quartets, and three piano quintets. In addition to these many works, he wrote five works for the clarinet: Concertino, op. 63, Duo Brillant for clarinet and piano, op. 130, Fantasie, op. 146, Second Fantasie, op. 180, and Adagio und Rondo alla polacca, op. 214. This document provides a biographical sketch of Reissiger, including his personal life, his life as a conductor, and his life as a composer. It also provides a look at the artistic life of his day: his fellow composers and the music they were writing for clarinet, outstanding clarinetists and the different instruments they were playing. The aim of this study is to provide a stylistic analysis of Reissiger's five works for clarinet, including a discussion of form, melody, harmony, and rhythm. This document puts forth the proposal that these works are worth resurrecting and that Reissiger, as a composer of clarinet music, is more than just a secondary composer. > more info

	The Nineteenth Century Oboe Concertino: An Overview of its Structure with Two Performance Guides Date: 2002-08 Creator: Murray, Lauren Baker Description: Music written for oboe and orchestra in the nineteenth century falls into three categories: Classical Concerto, Opera Fantasy, and Concertino. The classical, or standard, three movement, sonata-ritornello format was only sparingly used. Instead, composers chose more the experimental forms of the Opera Fantasy and Concertino. The Opera Fantasy was used as a way for oboe players to play popular opera arias of the time, while showcasing their virtuosity and expression. It is in the Concertino where composers expanded the oboe repertoire to its highest form in the nineteenth century, experimenting with structure, and using the oboe to the height of its expressive powers. In addition to discussion on the Concertino in general, performance guides have been provided for two concertinos, Concertino for Oboe and Winds, by Carl Maria von Weber and Concertino for Oboe and Orchestra, Op. 18, by August Klughardt. Information is provided regarding composer biography, compositional/historical perspective, technical and stylistic considerations, and structure. By examining the two very different pieces, one from the beginning of the nineteenth century and one from the end, the evolution of the Concertino can be seen, as well as gaining an understanding of the wide variety of repertoire written for the oboe in the nineteenth century. > more info

	A theoretical analysis of selected solo repertoire for saxophone by Paul Bonneau. Date: 2002-08 Creator: Johnson, Keith T. Description: The primary purpose of this dissertation is to provide greater insight into the compositional design of Paul Bonneau's Caprice en forme de valse solo pour saxophone and the Piece Concertante Dans L'Esprit "Jazz" pour saxophone alto et piano through a detailed analysis of the pieces. Paul Bonneau's Caprice en forme de valse is a major work for saxophone. It has been referred to as one of the most technically demanding works in the classical saxophone repertoire. In addition, the Caprice has been transcribed for the flute, clarinet and bassoon. In fact, the Caprice has been designated as "one of the most musically cohesive unaccompanied works written for any wind instrument." Bonneau's Piece Concertante Dans L'Esprit "Jazz" is also an important work in the repertoire due to its high degree of virtuosity and unique fusion of traditional classical and jazz elements. The analysis process focuses initially on the fundamental elements of music. Each analysis begins with an outline and description of the formal design of the piece. Major sections and their various subdivisions are detailed specifically. The tonal organization of the piece is presented. Large scale tonal areas are identified along with detailed discussions pertaining to specific harmonic structures. Due to the nature of the harmonic content of the pieces, standard contemporary chord symbol nomenclature is used. A table detailing various chord types and their associated symbols is provided. Information regarding the character and construction of Bonneau's melodies is presented. Items pertaining to melody include the use of step progressions, the variation principle, canonic effects and sequence. Basic rhythmic characteristics are outlined, as well. In addition to items related to the harmonic, melodic and rhythmic organization of pitches, other aspects of the music such as texture, articulation, dynamics and tessitura are integrated into the analytical discussion. Specific comments regarding the application of analytical conclusions to performance practice are presented following the analysis of the pieces. > more info

	The Contributions of Armenian Composers to the Clarinet Repertoire: An Annotated Bibliography of Selected Works, A Lecture Recital, Together with Three Recitals of Selected Works by Khachaturian, Bax, Castelnuovo-Tedesco, Lutoslawski, Nielsen, Burgmüller, and Others Date: 2002-12 Creator: Wolverton, Cynthia Kay Description: With the exception of the music of Aram Khachaturian, the output of Armenian composers has been largely overlooked. This small Middle-Eastern country with a population of almost four million and an intriguing history indeed has a rich musical heritage. From its roots in sacred music and folksong, Armenian music has evolved into a unique blend of national elements and Western art music. Although it remains largely undiscovered, there is an entire repertoire of works in this aesthetic. The Trio for clarinet, violin, and piano by Khachaturian has long been a standard in the clarinetist's repertoire. This project brings to light lesser-known works of other Armenian composers. After providing a brief history of Armenia and her music (Chapter 2), this document presents an annotated bibliography of works using the clarinet (Chapter 3). Because there are a significant number of Armenians living outside their homeland, composers considered for this bibliography include all those of Armenian descent: those born,schooled, and presently living in Armenia, as well as those born to one or both Armenian parents residing in other countries. The bibliography includes works for unaccompanied clarinet, clarinet and piano, clarinet and orchestra, and chamber music for up to seven players. Each annotation includes the composer's name, dates, title of the work and its movements, date of composition, instrumentation, publisher and date of publication (in the case of published works), source from which the score can be obtained (in the case of unpublished works and works that are no longer published), duration of the work, and any recordings that are commercially available. Specific information about each piece, such as its dedication, first performance, historical background, musical characteristics, and performance practice issues is provided when available. > more info

	The influence of klezmer on twentieth-century solo and chamber concert music for clarinet: with three recitals of selected works of Manevich, Debussy, Horovitz, Milhaud, Martino, Mozart and others. Date: 2002-12 Creator: Card, Patricia Pierce Description: The secular music of the Eastern European Jews is known today as klezmer. Klezmer was the traditional instrumental celebratory music of Yiddish-speaking Ashkenazi Jews who eventually populated the Pale of Settlement, which encompassed modern-day Poland, Lithuania, Ukraine, Belarus and Romania. Due to the rise of oppression and expulsion, many klezmer musicians or klezmorim immigrated to the United States between 1880 and the early 1920s. These musicians found work in klezmer bands and orchestras as well as Yiddish radio and theater. Some of the most influential klezmorim were clarinetists Naftule Brandwein and Dave Tarras who helped develop an American klezmer style. While the American style flourished, the popularity of pure klezmer began to diminish. As American-born Jews began to prefer the new sounds of big band and jazz, klezmer was considered old-fashioned and was in danger of becoming a lost art form. During the early 1970s, a reawakening study of klezmer developed. Henry Sapoznik, Lev Liberman and Andy Statman were instrumental in creating a klezmer revival in the United States. At the same time, Argentinean-born Israeli clarinetist Giora Feidman was popularizing klezmer in Europe. Klezmer had again become popular and the revival's impact on the concert hall was inevitable. Even though klezmer has existed for centuries, composers have only recently included klezmer elements in their concert works. Characteristic modes (Freygish and Misheberakh), forms (freylekhs and doinas), instrumentation, and rhythms all contribute to create a unique style. Three musical works for clarinet are examined in the dissertation: Simeon Bellison's Four Hebrew Melodies in form of a suite, Simon Sargon's KlezMuzik and David Schiff's Divertimento from Gimpel the Fool. Although the compositions reveal different approaches to the elements, the klezmer influence is evident in each of them. An appendix of clarinet klezmer influenced concert works is included. > more info

	An Examination of the Clarinet Music of Luigi Bassi Date: 2007-08 Creator: Johnson, Madeline LeBaron Description: This dissertation focuses on the clarinet music of Luigi Bassi (1833-1871), an Italian clarinetist and composer. Biographical information and performance history for Luigi Bassi are included. Bassi wrote 27 works for clarinet, including 15 opera fantasies or transcriptions. Most of his works are housed in the Milan Conservatory library. This document provides analysis of all but two of Bassi's 27 works. For Bassi's pieces with ties to opera, I identified his source material and discussed the ways in which he manipulated the material. A brief synopsis of each opera is included. This study serves as a performance guide for those seeking to perform Bassi's clarinet works. > more info

	Miguel Yuste: His Works for Clarinet and His Influence on the Spanish Clarinet School of Playing in the Twentieth Century, A Lecture Recital, Together with Three Recitals of Selected Works by Bax, Mason, Khachaturian, Chausson, Bozza, Beethoven, and Others Date: 2005-05 Creator: McLaren, Malena Rachel Description: The popularity of the clarinet in Spain is second only to that of the guitar, and there is a rich tradition of clarinet playing that is accompanied by an equally rich repertoire of music for the clarinet by Spanish composers. The works for clarinet and piano by Miguel Yuste (1870-1947) are among this little known repertoire. In the early twentieth century it was thought that Miguel Yuste wrote over one hundred works for clarinet. However, current research suggests that this is incorrect. What is known is that seven works for clarinet and piano have been published. Miguel Yuste and his music are pivotal in the establishment of the strong clarinet tradition for which Spain is presently known. In his thirty years as the clarinet professor at the Real Conservatorio Superior de Música de Madrid (1910-1940), Miguel Yuste's music and pedagogical ideas became, and continue to be among the foundations of Spanish clarinet playing. This project discusses each published work and presents current research on the works composed for clarinet and piano by Miguel Yuste. After a brief history of Spain's music and social climate in which it developed (Ch. 2), this document discusses the introduction of the clarinet in Spain, clarinet pedagogy at the Madrid Conservatory (Ch. 2), and Miguel Yuste's influence within that pedagogy (Ch. 3). Establishing contact with living clarinetists whose music education was directly influenced by Miguel Yuste and/or his students provides invaluable insight into the traditional performance practice of the works and the extent to which Miguel Yuste influenced Spanish clarinetists in the twentieth century. Chapter four presents an annotated bibliography and brief discussion of the extant works for clarinet by Miguel Yuste. Each annotation includes the title of the work, publisher, date of publication, duration, and any commercially available recordings. > more info

	Richard Strauss's Duett-Concertino: A Study of the Programmatic Elements for the Performer Date: 2004-05 Creator: Turley, Sarah Leigh Description: Richard Strauss's Duett-Concertino for Clarinet and Bassoon with Strings and Harp, AV 147 was one of the last works written by this celebrated composer. This double concerto has been largely unrecognized by performers and scholars until a recent surge in recorded performances. Some factors that hinder performances of the Duett-Concertino include unusual scoring and difficult rhythmic passages, as well as a lack of acknowledgement or understanding of the programmatic elements represented in the music. Sketches and letters show that the Duett-Concertino was inspired by a fairytale, which may have been the popular Beauty and the Beast. The programmatic analysis in this study examines the musical gestures of the piece, which, when combined with the cues provided in the sketches and letters, construct a musical interpretation of the fairytale. Recognition of the extra-musical features of the Duett-Concertino is essential for an effective performance and, in turn, creates additional performance possibilities such as narration and choreography. > more info \| UNT EUID Login Required

	A Study of Selected Clarinet Music of Brian Israel Date: 2004-08 Creator: Cifelli, Cheryl Description: It is the goal of this document to bring to the attention of the public the compositions of Brian Israel, an American Jewish composer who died of leukemia in 1986 at the age of 35. This document contains a biography of the composer, information on where to obtain the scores, texts to the poems of Kenneth Patchen, as well as a study of three, selected clarinet works, which trace his compositional development. The Sonata for Clarinet and Piano, a neo-classical work, is representative of his early style, using classical forms with non-traditional harmonies. It is comprised of three movements, Allegro assai, Andante, and Vivace. The chamber work Lovesongs, Lions, and Lullabyes, for soprano, clarinet, and piano, is a progressive work that experiments with text painting, chord splitting, mode mixture, and an increasing harmonic language, and is inspired by the poetry of Kenneth Patchen, a World War II poet. There are four movements to this work: "O, sleeping falls the maiden snow," "O when I take my love out walking," "The lions of fire," and "I have lighted the candles Mary." The Concerto for Clarinet and Wind Ensemble is a textless, programmatic work that uses chromatic fragments and displaced octaves to represent the timeline known as the Final Solution. This work contains three movements that have been titled, Crystal Night, Coronach, and Liberation, that further direct the program. Each work is described in structure, harmonic texture, harmonic language, and interpretation. > more info

	Unique Contributions for Oboe in the Classical Period: Jacques Christian Michel Widerkehr's Duos for Oboe and Piano and François Devienne's Six Sonatas for Oboe and Basso Continuo Date: 2006-12 Creator: Schindler, Angela N. Description: Sonatas for oboe in the classical period are classified as 'solo sonatas.' These 'solo sonatas,' which originated in the baroque period, consist of a melody instrument and basso continuo. Solo sonatas for oboe, which account for a sizeable repertory in the baroque period, continued to be composed in the classical period but in the baroque style. The basso continuo setting for sonatas gradually disappeared toward the end of the period, developing into the duo sonata in which a solo instrument and piano played an equal role in presenting melodic material. While the fully developed classical sonata was written for piano alone, and duos for violin and piano and cello and piano, the sonatas for oboe did not make this transition. The duo sonatas for oboe and piano by Jacques Christian Michel Widerkehr are exceptions to the baroque style 'solo sonatas.' Widerkehr's sonatas are the only true 'duo sonatas' for oboe and piano written in the classical period. François Devienne's sonatas deserve special recognition as the only 'solo sonatas' for oboe written predominantly in the classical style. In addition to presenting an overview of sonatas for oboe, biographical information on Widerkehr and Devienne, current state of research of Widerkehr's sonatas, changes in performance venue and instrumental design of the oboe, an examination of Widerkehr's Duos for Oboe and Piano in E Minor and C Major will follow. Examples of classical style elements and procedures are identified in each analysis with an emphasis on the duo setting. Devienne's Sonata in G Major, Op. 71, No. 1, serves as an example of his six oboe sonatas. Although the work is composed in a basso continuo setting, examples of classical style characteristics are identified in an analysis of the three movements. > more info

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