Academic literature on the topic 'Concerto for Clarinet'

Mitya: Concerto for Clarinet is a composition for solo Bb clarinet, large ensemble and electronics. The work is in three movements, each movement utilizing a different approach to extended just intonation in its pitch structure. The pitch structure of the first movement is designed around a single pitch, held by the clarinet soloist, which takes on a variety of just relationships in the harmony as other pitches change in relation to it. The second movement is a type of passacaglia which continuously modulates up a just major third at each repetition of the passacaglia theme. These untempered modulations cause the the harmony to move further and further away from equal temperament. The third movement features a tonal centre, in relation to which harmonies become progressively more complex. Throughout the piece, the electronics are used to help realize the mictrotonal harmonic structures by diffusing precisely tuned pitches for the intrumentalists to tune to.<br>Ce concerto pour clarinette, Mitya, est une composition pour clarinette solo, grand ensemble et électroniques. L'idée principale de la pièce est d'examiner trois conceptions harmoniques utilisant l'intonation juste étendu (gamme naturelle). Mitya est en trois mouvements. Chaque mouvement est défini par une tonalité et un système harmoni que différent. Le premier mouvement a comme note centrale un La, joué par la clarinette pendant tout le mouvement. Les harmonies aparraissent et disparraisent autour de ce La, y conférant ainsi plusieurs fonctions harmoniques. Le deuxième mouvement est une passacaille dont le thème module à la tierce majeure naturelle ascendante à chaque itération. Ces modulations non-tempérées font que la musique s'éloigne progressivement du tempérament égale. Le troisième et dernier mouvement se concentre sur un Ré comme note centrale. En relation avec ce Ré, les harmonies deviennent de plus et plus complexes. Tout au long de la pièce, les électroniques servent à réaliser des structures harmoniques non-tempérées sur lesquelles les musiciens pourront accorder précisement leurs microtons.

Thesis (D.M.A.)--Boston University. This item includes the dissertation paper, handouts, as well as a video of the February 26, 2017 lecture and clarinet performance by Karen Luttik.<br>Géza Frid (1904-1989) was a significant Hungarian-born Dutch composer and pianist of Jewish descent. His compositional style was highly regarded in the Dutch musical scene of the 20th century; his music has been programmed on multiple occasions by the Concertgebouw Orchestra and in 1949 and 1954 won the City of Amsterdam Music Award. Major influences on Frid’s musical development started in his native Hungary where he studied with Béla Bartók and Zoltán Kodály before his move to the Netherlands. In 1972, he composed an unusually lovely concerto for Bb, A, Eb and bass clarinets (Op. 82) and dedicated it to George Pieterson, principle clarinet with the Concertgebouw Orchestra. Scholarly discussions of Géza Frid’s clarinet music are not to be found in either the US based International Clarinet Society’s The Clarinet, or in the Dutch based De Klarinet. Intensive World Cat library searches have yielded no recordings of this piece, and currently there is not even one recording of Frid’s Concerto for Clarinets on YouTube or in the Naxos Music Library. The Concerto for Clarinets is a significant addition to the standard clarinet repertoire and needs to be introduced to the world wide clarinet community. Furthermore, save for some short selections on the Géza Frid website set up by his son, Arthur Frid and a Wikipedia article, no translations exist of Géza Frid’s autobiographical material. His life story was exceedingly interesting, having been a Jewish composer during the World War II years who was not allowed to perform or compose for years during the German occupation of the Netherlands. Luckily he survived the war years by going into hiding; he managed as part of the musician’s resistance to find ways to perform and work illegally giving clandestine concerts and falsifying documents. These were exceedingly dangerous risks, yet ones Géza Frid and his fellow musicians were willing to take because of their music. Frid published two autobiographical books and numerous articles for the Dutch music magazine Mens en Melodie, (People and Melody) revealing his deep musical insights; especially those relating to the music of the Concerto need to be summarized and translated to English from Dutch. This paper provides a general overview of the historical aspects of Géza Frid’s life, his WWII experiences, and his position as one of many persecuted Jewish musicians at the time. Géza Frid’s autobiographical information relating to his personal friendships with Bartók and Kodály is of interest when considering his music. Summaries and some translations are made of his two Dutch language autobiographical books, In 80 Jaar de Wereld Rond (Around the World in 80 Years) and Oog in Oog Met… (Eye to Eye With…). A basic analysis of Frid’s Concerto for Clarinets is provided regarding form, the various instrument appearances, and a special feature invented by George Pieterson called the ‘tremolo special’. Since this concerto was specifically composed for the Reformed Boehm system clarinets which George Pieterson used, a discussion of the differences between the French, German and Reformed Boehm clarinet systems is included. The performance portion of this project is a historically informed performance of this piece on the specific models of clarinets for which it was written. George Pieterson passed on in April 2016, and this project is a fitting tribute of his teaching to a generation of professional clarinetists in the Netherlands including the author.

In exploring the South African Clarinet Concerto, this discourse focusses on nine pieces that have been written within this genre and within the South African context. With this in mind, the aim is to look at each of these works, and then examine them from their points of origin, through to their stylistic conception and their musical characterisation. Up to this point, there has been very little discourse, almost none in fact, that has focussed on this genre within the South African Classical music domain, and as such this research hopes to break some ground by taking this broad look at the clarinet concerto genre from a local standpoint. While at the same time bringing insights and reflections upon these pieces from the composer's points of view, and then commenting and analysing the formal structure and harmonic language they contain. Ultimately, by examining all the sides of this musical story, and by keeping in mind the historical context and more in-depth examinations of the solo clarinet parts, this aspiringly ground-breaking discussion looks towards highlighting what amounts to a much undervalued genre within South African Music.

The present study makes available a modern performing edition of an eighteenth-centyry clarinet concerto. Written by the Mannheim oboist and composer Ludwig August Lebrun, the Concerto in B-flat for solo clarinet and orchestra has existed solely as a set of manuscript parts for over 200 years. The following chapters present biographical information on Ludwig August Lebrun as an oboist and composer of the late eighteenth century, the historical background of Lebrun's Concerto in B-flat. a thematic and harmonic analysis of the concerto's three movements, and a summary of the procedures followed in preparing the present edition of orchestral parts and piano reduction. Contemporaneous sources which provided pertinent performance practice information in the areas of articulation and ornamentation are also discussed. A copy of the piano reduction and orchestral performing parts are included in the appendices.

French composer Eugene Bozza (1905-1991) has made significant contributions to the repertoire of wind instruments in the twentieth century. Not least among his compositions are the clarinet concerto, the eleven works for clarinet and piano, chamber works involving the clarinet, and numerous etudes for clarinet. Information gathered throughout the course of the study demonstrates why the concerto is a significant work for clarinetists, demanding from the performer technical prowess, tonal control, and mature musicianship. The additional works for clarinet and piano are mostly sectional pieces written in a morceau de contours vein challenging the performer's lyrical and technical playing.This study reveals through analysis a number of compositional devices used by the composer that are stylistic threads running through virtually all the works for clarinet. Harmonically, these devices include extended tertian chords used in succession, parallel chord movement, and quartal and quintal harmonies. Melodic resources include diatonic scales, chromatic scales, some transposed modes, and a limited use of whole tones. The composer prefers homophonic textures, but uses countermelodies and the occasional use of the unaccompanied soloist for contrast. Bozza uses the element of rhythm dynamically, featuring rhythmically-charged motives throughout much of his composition. Numerous expressive modifiers are included in the works, but leave the performer enough latitude for supplementary dynamics and rubato.In addition to analyses of the concerto and the works for clarinet and piano, the study addresses the orchestration of the concerto. This discussion shows the ways in which Bozza uses orchestral colors and alerts the performer to discrepancies between the orchestral score and the piano reduction. Few of the changes from the score to the reduction are significant. Many changes are cosmetic involving the deletion of color effects and short countermelodies in the reduction to allow for idiomatic piano writing.The study offers the performer recommendations for the successful performance of the concerto and the works for clarinet and piano. The recommendations include supplemental expressive modifiers, fingering choices, additional phrasing choices, and practice techniques. As an introduction to the study, biographical information was gathered to provide the reader with a concise sketch of the life and style of Eugene Bozza. Correspondence received from Alphonse Leduc gives additional information on Bozza's works for clarinet.<br>School of Music

Music Performance<br>D.M.A.<br>The purpose of this monograph is to promote Costa Rican academic music by focusing on Costa Rican composer Carlos Escalante Macaya and his Concerto for Clarinet and Strings (2012). I hope to contribute to the international view of Latin American composition and to promote Costa Rican artistic and cultural productions abroad with a study of the Concerto for Clarinet and Strings (Escalante's first venture into the concerto genre), examining in close detail its melodic, rhythmic and harmonic treatment as well as influences from different genres and styles. The monograph will also include a historical context of Costa Rican musical history, a brief discussion of previous important Costa Rican composers for the clarinet, a short analysis of the composer's own previous work for the instrument (Ricercare for Solo Clarinet) and performance notes. Also, in addition to the publication and audio/video recording of the clarinet concerto, this document will serve as a resource for clarinet soloists around the world. Carlos Escalante Macaya (b. 1968) is widely recognized in Costa Rica as a successful composer. His works are currently performed year-round in diverse performance venues in the country. His compositions vary widely, including orchestral, choral, and chamber music works, as well as music for dance, theater, and film. He is associate composer for the national dance and theater companies, and also receives many other commissions. He has received important national and Latin American composition awards, but his music, as that of other Costa Rican composers, is yet to be discovered outside of Latin America. Only one book, Música académica costarricense: Del presente al pasado cercano (2012), includes a commentary on Carlos Escalante Macaya. In it Costa Rican musicologist Ekaterina Chatski briefly analyzes two of his most important compositions: Los huesos tristes, commissioned in 2006 for the Choreographer's Festival, and Sinfonía Centenario (1997), winner of the Latin American Composition Competition of the centenary of the National Theater of Costa Rica. This book also includes a short biography of the composer and a list numbering 81 of his compositions up to the year 2008. The composer provided most materials necessary for my study, including multiple scores, inspirational visual materials, as well as a full interview (completed August 12, 2013) that will be included as an appendix. It is also important to mention that this concerto was written for me. The composer made significant effort to create a piece that would be, in his own words, a "perfectly fitted dress." My feedback ultimately made this piece what it is today, and my premiere of it on September 14, 2012, with the National Symphony Orchestra of Costa Rica, was an absolute success. This piece was so well received by the Costa Rican public that it was included in the National Symphony Orchestra of Costa Rica's latest CD recording of Costa Rican Music Composers. This recording is the first album of the National Symphony Orchestra to include a solo artist, so it is an honor for me to have been part of this wonderful project. Having been involved in all stages that brought this piece to life, I believe I am in the best position to present an analysis of the piece, to provide a historical background, and to offer performance recommendations for the future.<br>Temple University--Theses

<p> This paper examines the process of applying portions of the Ploger Method&trade; to the interpretation and performance of the Mozart Concerto for Clarinet. Wolfgang Amadeus Mozart's <i>Concerto</i> for Clarinet K. 622 is one of the most significant works in the clarinet repertoire. Not only is it one of the earliest concertos written for clarinet, but even hundreds of years after its composition it still offers students, teachers, and performers many technical challenges as well as opportunities for individual musical expression. It is also one of the most requested concertos on professional auditions for performing and teaching positions. Because of the significance of this piece, it is extremely important for any professional clarinetist to have a thorough understanding of the theoretical, technical, and musical aspects involved in the performance of the work. </p><p> Marianne Ploger has developed a technique for teaching musicianship that incorporates written and aural theory, performance psychology, and a unique understanding of how the human brain perceives musical sounds that can be particularly useful to performers. She developed her method through her work as a student of Nadia Boulanger, as a founder of the Institute for Musical Perception in Ann Arbor, Michigan, as a faculty member at the University of Michigan, and now at the Blair School of Music at Vanderbilt University.</p>

D’improvviso da immobile s’illumina is a concerto for bass clarinet, two orchestras, piano, and percussion, that I composed during my graduate studies at Florida International University in Miami. The work is approximately 16 minutes long and is scored for 30 independent instrumental parts in addition to the bass clarinet soloist. Although the piece does not incorporate electronics, electronic music was a major influence in its creation, and the computer was used extensively as a compositional tool. In addition, the writings of Henry Cowell and the music of Sofia Gubaidulina influenced the concerto in a number of ways. While writing this work, I had to discover new ways to allow pure instinct to intermingle with strict calculation. This paper will discuss in detail the various techniques used in the creation of the concerto as well as some of the works that influenced it.