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Description
Works for clarinet in the twentieth century exist in abundance; furthermore, the number of extant works from the Classical period is substantial. However, works for solo clarinet in the late-Romantic style are lacking; most of the significant literature for clarinet is contained in orchestral works. Therefore, the purpose of this project is to add to the solo clarinet repertoire of the late Romantic-style through the transcription of works written originally for viola. The four works transcribed for this project are by York Bowen. Bowen was a British composer and pianist who taught at the Royal Academy of Music in England. Although his career flourished in the twentieth century, his music reflects the music of the late-Romantic style. The project includes a transcription of Bowen's Sonata No. 1 in C minor, Op. 18 for viola and piano, Sonata No. 2 in F major, Op. 22 for viola and piano, Romance in D-flat for viola and piano, and Phantasy in F, Op. 54 for viola and piano. Additionally, a brief examination of Bowen's life, an overview of each piece, details regarding transcription parts, a list of changes made to the original part, and a recording of each transcription is included in the document.
ContributorsDeBoer, Andrew Caleb (Author) / Spring, Robert S (Thesis advisor) / Hill, Gary (Committee member) / Norton, Kay (Committee member) / McAllister, Timothy (Committee member) / Stauffer, Sandra (Committee member) / Arizona State University (Publisher)
Created2011
Description
New music is often created as a product of commissions resulting in a collaborative effort between the performer and the composer. This performer-composer relationship represents an important component of the role of the artist in expanding the repertoire of the instrument. Belgian composer, Norbert Goddaer (b. 1933), has written numerous works for clarinet that are the result of such collaborations. Mr. Goddaer's works for clarinet are well-crafted and audience-friendly, and are thus good programming choices for students and professionals alike. His clarinet works have been performed worldwide in artist recitals, conferences for organizations such as the International Clarinet Association, The Midwest Clinic, and the Texas Music Educators Association, and have been commercially recorded and released by some of the foremost contemporary clarinet artists. These works have a great education value given the fact that they are appropriate choices for such a wide range of clarinetists. In an effort to contribute to this body of performance history, the author has produced a recording of five of Goddaer's previously unrecorded works, accompanied by a performance guide to each work. This document provides detailed performance notes with corresponding musical examples, basic formal analyses, and musical suggestions for Las Mañas, Conversations, Ballad, Duets, and Restless by Norbert Goddaer. The author has included a full transcript of an interview with Norbert Goddaer, which includes a first-person discussion of each work, and additionally includes biographical information supported by concert programs and an annotated list of all of Goddaer's works for clarinet, and a discography of his works for clarinet.
ContributorsClasen, Kevin (Author) / Spring, Robert S (Thesis advisor) / Gardner, Joshua T (Committee member) / Norton, Kay (Committee member) / Hill, Gary (Committee member) / McAllister, Timothy (Committee member) / Arizona State University (Publisher)
Created2012
Description
The bass clarinet, developed almost a century after the soprano clarinet, isrelatively young compared to many modern instruments and consequently possesses a
comparatively small repertoire. Until the mid-20th century, composers did not view the
bass clarinet as a solo instrument and instead perceived it as cumbersome due to its low
pitch and predominant use as an accompaniment instrument, resulting in a dearth of solo
repertory for the bass clarinet before this time. Bass clarinetists desiring to perform
repertoire from the Baroque, Classical, and Romantic periods must then appropriate
music from other instruments. Through this study, I identify and detail a process for
creating informed transcriptions of music for the bass clarinet to increase its body of solo
and chamber literature. I examine the original scores and existing transcriptions of
Concerto in C minor by Henri Casadesus (attributed to Johann Christian Bach) for cello,
Bassoon Concerto Op. 75 by Carl Maria von Weber, Trios, Hob. IV:1-4 “London Trios”
by Joseph Haydn, Kol Nidrei, Op. 47 by Max Bruch, and Clarinet Concerto in A Major,
K. 622 by Wolfgang Amadeus Mozart to identify methods for the transcription process. I
compare this to the transcription process for other instruments through examination of the
Clarinet Sonatas, Op. 120, Nos. 1 and 2 by Johannes Brahms, which were transcribed
from clarinet to viola by the composer himself. In this document, I discuss the historical
background of the selected pieces, the selection process, editing considerations,
performance practice, and the usage of transcriptions as a pedagogical tool. Although
transcriptions for the bass clarinet already exist, appropriation of music from other
instruments will continue to supplement and diversify its repertoire. These pieces serve to
develop important technical and musical skills and allow the bass clarinetist to play
music across various style periods. In this project, I select and transcribe three pieces for
the bass clarinet: Sonata for Cello No. 1 in F Major by Benedetto Marcello, Grand
Concerto for Bassoon and Orchestra by Johann Nepomuk Hummel, and Serenade in F
minor, Op. 73, by Robert Kahn. The transcribed scores are included in the appendices of
this document.
comparatively small repertoire. Until the mid-20th century, composers did not view the
bass clarinet as a solo instrument and instead perceived it as cumbersome due to its low
pitch and predominant use as an accompaniment instrument, resulting in a dearth of solo
repertory for the bass clarinet before this time. Bass clarinetists desiring to perform
repertoire from the Baroque, Classical, and Romantic periods must then appropriate
music from other instruments. Through this study, I identify and detail a process for
creating informed transcriptions of music for the bass clarinet to increase its body of solo
and chamber literature. I examine the original scores and existing transcriptions of
Concerto in C minor by Henri Casadesus (attributed to Johann Christian Bach) for cello,
Bassoon Concerto Op. 75 by Carl Maria von Weber, Trios, Hob. IV:1-4 “London Trios”
by Joseph Haydn, Kol Nidrei, Op. 47 by Max Bruch, and Clarinet Concerto in A Major,
K. 622 by Wolfgang Amadeus Mozart to identify methods for the transcription process. I
compare this to the transcription process for other instruments through examination of the
Clarinet Sonatas, Op. 120, Nos. 1 and 2 by Johannes Brahms, which were transcribed
from clarinet to viola by the composer himself. In this document, I discuss the historical
background of the selected pieces, the selection process, editing considerations,
performance practice, and the usage of transcriptions as a pedagogical tool. Although
transcriptions for the bass clarinet already exist, appropriation of music from other
instruments will continue to supplement and diversify its repertoire. These pieces serve to
develop important technical and musical skills and allow the bass clarinetist to play
music across various style periods. In this project, I select and transcribe three pieces for
the bass clarinet: Sonata for Cello No. 1 in F Major by Benedetto Marcello, Grand
Concerto for Bassoon and Orchestra by Johann Nepomuk Hummel, and Serenade in F
minor, Op. 73, by Robert Kahn. The transcribed scores are included in the appendices of
this document.
ContributorsMyones, Zachary Roberts (Author) / Spring, Robert S (Thesis advisor) / Gardner, Joshua T (Thesis advisor) / Humphreys, Jere T (Committee member) / Ryan, Russell R (Committee member) / Saucier, Catherine (Committee member) / Arizona State University (Publisher)
Created2020