A comparative study of the technical and interpretative problems of the Concerto for five kettledrums and orchestra by Robert Parris, and the Concerto for timpani and orchestra by Werner Thaerichen

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dc.contributor.advisor Albright, Philip H. en_US
dc.contributor.author Mahady, Terrance J. (Terrance James), 1942- en_US
dc.date.accessioned 2011-06-03T19:28:27Z
dc.date.available 2011-06-03T19:28:27Z
dc.date.created 1977 en_US
dc.date.issued 1977
dc.identifier LD2489.Z62 1977 .M3 en_US
dc.identifier.uri http://cardinalscholar.bsu.edu/handle/handle/177944
dc.description.abstract The dissertation presented a performance analysis and comparison of two major timpani concertos. The Concerto for Five Kettledrums and Orchestra by Robert Parris and the Concerto for Timpani and Orchestra by Werner Thaerichen were chosen for the study because they have been performed by major symphony orchestras, they have been performed at the advanced collegiate level, and because both concertos were written for five timpani and a similar orchestra instrumentation.Initially, each composition was thoroughly analyzed in regard to the specific techniques necessary for a consistent, musical performance. The performance analysis attempted a measure by measure explanation of the solo parts with musical examples; the measures were grouped according to musical phrasing or common technical problems. Some of the more complex phrases were then more minutely examined to focus on a specific performance problem. The mastery of a particular technique or movement was often facilitated by an exercise developed from the performance problem. A number of such exercises were presented and explained in the performance analysis.The comparative performance analysis was presented to best illustrate and illuminate the following similarities and dissimilarities:1. The basic difficulty, in both the composition and performance of a timpani solo, is that of a conjunct, lyrical, multiple-pitched line as opposed to the more idiomatic disjunct, fragmented exchange of solo material with the accompaniment. This was the basis of the comparative analysis. The Parris Concerto is lore linear and lyrical, whereas the Thaerichen Concerto is more fragmented. The Thaerichen solo has for one, two, or three drums and rhythmic work is definitely linear and depends less upon single and two drum figures to create and maintain interest. In this sense, the to the extent that the Thaerichen Concerto does.2. Because of the melodic nature of the material, the Parris Concerto was more demanding in interpretation than was the Thaerichen Concerto. The solo timpani pant in the Parris Concerto is foreground material and is more expressive than the ostinato, background material of the solo part of much of the Thaerichen Concerto.3. There are similar and dissimilar sticking situations which demanded study and experimentation to produce the most musical results. Similarities in stickings include right-hand and lefthand-lead, stick doublings and a combination of alternate stickings and stick doublings. The Thaerichen solo has two passages utilizing repeated eighth-notes in one hand and a melody around the drums with the other; similar stickings are not required in the Parris. However, the Parris solo has complex arms-crossed stickings and almost acrobatic arm and foot movements.4. Tuning schemes vary more frequently aid more dramatically in the Parris Concerto.The performance analysis and comparison substantiated these similarities and dissimilarities and further revealed that the length and many repetitions of the Thaerichen solo demanded the utmost concentration and consistency due to the static nature of many passages. The Parris is more compact, with many varied performance problems facing the soloist every few measures. The variety of melodic material, articulations, and mallet movements result in the Parris Concerto being the more difficult. The Thaerichen Concerto makes fewer technical demands, and spaces them farther apart. In many passages of the Thaerichen, the tuning scheme remains the same. Also, tempo does not vary as often as it does in the Parris. The Parris solo features more foreground material, with its melodic phrases supported by the orchestra; whereas, the timpani in the Thaerichen is a part of the overall orchestral texture, only occasionally being allowed to assume a principal melodic role.This study was undertaken as a guide for the timpanist desiring to study and perform these works. Specific solutions to performance problems have been offered as a means of achieving technical mastery and as a motivation to further explore and exploit one's personal performance skills and talents. en_US
dc.format.extent vi, 151 leaves : music ; 28 cm. en_US
dc.source Virtual Press en_US
dc.subject.lcsh Concertos (Timpani) -- Analysis, appreciation. en_US
dc.subject.other Parris, Robert, 1924-1999. Concertos, timpani, orchestra. en_US
dc.subject.other Tharichen, Werner, 1921-2008. Concertos, timpani, orchestra, op. 34. en_US
dc.title A comparative study of the technical and interpretative problems of the Concerto for five kettledrums and orchestra by Robert Parris, and the Concerto for timpani and orchestra by Werner Thaerichen en_US
dc.description.degree Thesis (D.A.) en_US
dc.identifier.cardcat-url http://liblink.bsu.edu/catkey/414178 en_US


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  • Doctoral Dissertations [3121]
    Doctoral dissertations submitted to the Graduate School by Ball State University doctoral candidates in partial fulfillment of degree requirements.

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