Music Theses and Dissertations

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    The American Contemporary Clarinet Concertos of John Corigliano, William Bolcom, Joan Tower, and John Adams
    (2019) Rynes, Matthew; DiLutis, Robert; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
    The clarinet concertos by John Corigliano, William Bolcom, John Adams and Joan Tower are among the most technically demanding pieces for the instrument of the last half-century. Each of the four composers utilizes a unique musical language that borrows from earlier pieces and musical styles. All four concertos also challenge the clarinetist’s ability to interpret various musical styles from contemporary and popular genres. This document outlines the form of each concerto, the various compositional languages utilized by each composer, and the popular and contemporary genres borrowed in each concerto.
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    Preluding for Wind Instrumentalists: Historical and Contemporary Applications
    (2019) Kaufman, Laura; Frisof, Sarah; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
    The practice of extemporaneous preluding was ubiquitous in performances in the Baroque, Classical, and early Romantic eras. Preludes were improvised before beginning a piece of music. Performers preluded in order to have the opportunity to warm up on stage, tune their instruments, and establish the key and atmosphere of the piece they were about to perform. The style of the preludes were meant to match the style of the compositions; as compositional styles and techniques evolved, preludes evolved as well. Traveling virtuoso instrumentalists would champion preluding as a means to show off their improvisational and technical skills in an effort to appeal to a wide audience; preluding became etude-like and lacked emotional depth. The second half of the nineteenth century marked a gradual decline of preluding in performances. The formerly conjoined roles of performer and composer diverged into two separate entities. In the mid-to-late Romantic era, compositions started to become more substantial in quality, and performers of preluding were unwilling or unable to adjust to serve the music appropriately. In addition to the shallow nature of preluding, students were no longer being taught compositional and improvisational skills. References involving wind players preluding ceases at the end of the nineteenth century. This dissertation explores the practical and historical development of preluding throughout the Baroque, Classical, and Romantic eras as well as possible applications for preluding in modern performances.
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    Inspirations and Influences: Popular Composition Trends in the Contemporary Clarinet Repertoire (1996-2010)
    (2015) Robinson, Emily Marie; DiLutis, Robert; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
    Clarinetists have seen a large increase in the diversity of styles and influences available for performance in the concert hall since 1996. Being an instrument that easily adapts to a wide range of musical styles, the clarinet is ideal for composers to utilize as they explore exciting new ways to create unique programmable works. From the incorporation of the more traditional folk sounds found in Jewish folk music to the assimilation of electronic distortion and classic rock, new repertoire for the clarinet showcases the instrument’s great range, flexibility, and versatility. The future can only hold more opportunities for fantastic new compositions in the same vein as composers become even more familiar with the possibilities available when writing for the clarinet. This dissertation explores popular composition trends in the contemporary clarinet repertoire through three thematic recital programs. The first contains works that integrate the Jewish folk music style of Klezmer; the second consists of programmatic works that all seek to represent a specific source of inspiration; and the third showcases works that integrate a variety of styles of American popular music. The works performed and discussed in this dissertation are the following: Samuel Adler - Cantos XIV – A Klezmer Fantasy; Ronn Yedidia - Impromptu, Nocturne, and World Dance; Ruth Schonthal - Bells of Sarajevo; Dana Wilson - Liquid Ebony; Christopher Rouse - Compline; Richard Toensing - Children of Light; Paul Moravec - Tempest Fantasy; John Adams - Gnarly Buttons; Anna Clyne - Rapture; and Scott McAllister - Black Dog.
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    The Interloping Beguiler: for Bass Clarinet and Orchestra
    (2009) Leupold II, John Kenneth; Fry, James H; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
    The Interloping Beguiler is an nineteen-minute concerto in four movements for bass clarinet solo and orchestra. The title refers to the role of the solo instrument, which continually thrusts itself into the affairs of the orchestra, deceiving and diverting the members of the orchestra away from their task of performing a "serious" orchestral composition. The bass clarinet portrays a comical, cartoon-like character whose awkward, and sometimes goofy, interjections cause chaos. Attempts are made by various members of the orchestra, especially the horns, to regain control of the work, but the bass clarinet always succeeds in its distracting antics. By the final movement of the composition, the bass clarinet has propelled the work into a cartoon-like landscape of quickly changing textures, dissonant intervals, and overlapping themes. The first movement, Introduction, sets the serious tone of the music to follow, or so it would seem. The entrance of the bass clarinet immediately changes this texture with its out-of-rhythm alternations between high and low pitches. This gesture provides a glimpse into the personality of the bass clarinet, an instrument here to mislead the members of the orchestra. Deception truly begins in the second movement, The Interloping Initiates. The bass clarinet starts the movement with a driving theme and is immediately supported by the orchestra. As the movement progresses, the bass clarinet quickly begins altering the theme, making it more playful and cartoonish. A struggle ensues between the horns and the bass clarinet, with the bass clarinet catapulting the piece into a latin-inspired section. The struggle continues through to the end of the movement. The third movement, Calm, is exactly what the title suggests. A sectional form distinguishes this movement from the second movement. Throughout Calm, the bass clarinet behaves with decorum, except for very large melodic leaps. The seed of anarchy planted by the bass clarinet in the second movement comes to fruition in the final movement, The Beguiling Builds. Here, the bass clarinet sends the work into chaos with sections recalling Looney Tunes cartoons, Hollywood western music, and children's folk songs.
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    The French Three: A Comparison (Performed) of Recital Music by Darius Milhaud, Henri Tomasi, and Eugene Bozza
    (2005-04-20) Ink, Hannah; Wakefield, John; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
    Darius Milhaud (1892-1974), Henri Tomasi (1901-1971), and Eugene Bozza (1905-1991) were influential French composers born within fifteen years of one another. They each composed a major clarinet concerto that was significant for their time and composed repertoire for the prestigious Solo de Concours examination at the Paris Conservatory. The works performed on these recitals showcase the concerti and are augmented by repertoire by the same composer. Program notes include a brief biography of the composer, discuss the works performed, and describe the compositions' relevance to the tradition and evolution of the French clarinet school. The purpose of this project is to acquaint clarinetists with the concerti and other lesser-known works that are not currently available as commercial recordings. They are all performed with clarinet and piano or solo clarinet. This discography will be a resource for clarinetists particularly for the works by Henri Tomasi. Many of these compositions have been overshadowed by other repertoire from the twentieth century but at the time, they established a technical frontier for clarinetists of the 1950's. The concerti set a new standard of virtuosity and despite being eclipsed in popularity, deserve a more prominent place in the clarinet repertoire. The compositional techniques of Milhaud, Tomasi, and Bozza had an impact on the French clarinet school but also a subsequent influence on American clarinet playing. This project will encompass the works of Henri Tomasi whose clarinet works have received very little scholarship or recording. The works that are performed and elaborated on in the program notes include a recital of the music of Darius Milhaud featuring the Caprice, Duo Concertante, Sonatine, Scaramouche, and the Concerto (1941). The second recital focuses on music by Henri Tomasi and includes the Nocturne, Complainte de Jeune Indien, Danse Nuptial (from Sacred and Profane Dances), Sonatine Attique, Introduction and Danse, and the Concerto (1953). The third recital highlights clarinet music by Eugene Bozza and features Claribel, Fantasie Italienne, Rhapsodie Nicoise, Bucolique, Prelude and Divertissement, and the Concerto (1952).
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    Selected Clarinet, Cello and Piano Trios: Unknown or Forgotten
    (2004-05-03) Crossen-Richardson, Phyllis Jane; Wakefield, John; Music
    The clarinet, violoncello, and piano trio is an important and viable chamber music genre. While many people are familiar with the Ludwig van Beethoven and Johannes Brahms clarinet trios, few know many others. Through my research I found more than 125 trios for this combination. From the 74 scores previewed, I selected nine trios from the last two centuries as the focus of this project, "Selected Clarinet Trios: Unknown or Forgotten." From the Classical period I selected Archduke Rudolph's Trio and Anton Eberl's Grand Trio, Op. 36. These trios are good examples of Classical performance style written by composers who were important historic figures and wrote several compositions for the clarinet. They highlight both the lyrical and virtuosic aspects of the clarinet while providing alternatives to the period's better-known clarinet trios. From the Romantic period I featured Louise Farrenc's Trio, Op. 44 and Carl Frühling's Trio in A moll, Op. 40. Farrenc's clarinet trio has stylistic elements from both the Classical and Romantic periods as well as German and French influences. In contrast Frühling's Trio in A moll is a late Romantic work, which showcases the best qualities of Romantic-style clarinet. Five trios are from the 20th century. Robert Muczynski's Fantasy Trio, Op. 26 has distinctive motifs, transparent textures and lively asymmetric rhythms using the clarinet's large range and variety of musical sounds to enhance the combination of American music with "Bartokian" rhythms. Like a film score, Nino Rota's Trio (1973) features the lush harmonies and instrumental blends of the instruments depicting different characters and moods. Henryk Górecki's Recitativa i Ariosa "Lerchenmusik," Op. 53 highlights the unique sound qualities, alone and in concert, through his organic Polish-folk inspired minimalist style. Stephen Dankner's Trio (1991) takes the clarinet trios from Brahms to the neo-Romantic present providing beautiful lyrical passages for the clarinet while incorporating the influences and essence of American jazz. Daniel Lochrie's Phantasms (1994, rev. 2002) features a variety of rhythmic and lyrical passages combined with the tasteful use of contemporary clarinet techniques within a traditional framework.