The clarinet through the ages : senior honors project

Abstract

I chose to do this project to learn some of the most recognized literature for the clarinet as well as to increase my knowledge of the growth and development of this literature over the centuries. The preparation of these monumental works has moved my playing forward considerably in all performance aspects – tone, technique, line – all combining to complete my overall goal: the communication of my musical thoughts and ideas. The outcome of this project was a senior recital performed on clarinet featuring works spanning over four centuries and including repertoire by Bach, Mozart, Brahms, Debussy, and Stravinsky. It was designed to capture a landscape of the clarinet repertoire as it has evolved over the years. This recital, however, was merely the culmination of years of preparation and research, a combination of all the experiences I have gathered as a clarinetist over the past twelve years and as a human being throughout my life. My life experiences away from the clarinet have molded me so that I can interpret the music and apply the emotion necessary to portray the intentions of the composer. Playing the clarinet requires more than just technical knowledge; it requires emotion and understanding. After all, without the human involvement, there is no art. This project was presented as a senior solo clarinet recital in collaboration with piano accompanist, Holly Hanauer. Five works were selected for the performance. These were J.S. Bach. Allemande from Suite II for cello and Presto from Sonata I in G minor for violin (1720); transcribed and edited for clarinet by H. Voxman Mozart. Concerto for Clarinet and Orchestra in A major, KV 622, 1: Allegro (1791) Brahms. Sonate Es-Dur Op. 120, No. 2, 1: Allegro Amabile (1894) Debussy. Premiere Rhapsodie (1910) Stravinsky. Three Pieces for Clarinet Solo (1919). The selection of these works was a careful process, and the program represents some of the most standard and influential clarinet repertoire. The works chosen are representative of five distinct musical periods, therefore exhibiting the consistency of quality literature for the clarinet across centuries. Each piece was chosen for its own unique aspects as well as to create a program, which demonstrates the versatility and contrasting styles for which clarinet is known. The program begins with Bach, an unaccompanied violin/cello transcription. Bach, a staple of Classical music, demands versatility and an extensive understanding of the musical phase. This piece was chosen to begin the recital as it is chronologically the oldest work and because it is a transcription. It is very common for performers to expand the boundaries of their repertoire. Playing transcriptions is one way to accomplish this. I chose to play this transcription because learning Bach was pivotal to my growth as a performer as it required me to transcend the clarinet, to play as a violinist – to play the music, not just the instrument.The works of Brahms and Debussy represent distinct time periods and levels of composition for the solo clarinetist. They have unique demands concerning tone color, technique, and mood. Written for Richard Muhlfeld, Sonate Es-Dur is representative of the Romantic Period and is tonally and musically demanding. Premiere Rhapsodie was composed for the Paris Conservatory and is representative of Impressionism. The piece is very colorful and transparent, a direct correlation to the Impressionistic movement in the visual arts.Three Pieces for Clarinet Solo was chosen as it is characteristic of yet another age of clarinet literature and is unaccompanied. This piece was pivotal in the evolvement of the clarinet as a solo, unaccompanied instrument and inspired other composers to write similar works. The influences of jazz and twentieth-century harmonies and rhythms are directly apparent within the three distinct pieces.After the invention of the clarinet c. 1690 by J.C. Denner, the first major piece of literature for clarinet was the Mozart Concerto. Inspired by Anton Stadler, this concerto has become the standard of the Classical concerto. This piece was chosen to end the recital for a reason of aesthetics rather than academics. From the standpoint of the audience, ending with Mozart provided an aesthetic ending as well as a sense of finality. Removing this piece from chronological order also created more diversity in the program between styles and genres. Through the preparation and performance of this recital, I discovered a great deal about clarinet literature and its development. I learned music of various time periods and multiple ethnicities, which provided insight into the time periods and the minds of the composers. Perhaps most importantly, this recital emphasized the clarinet as a vital solo instrument, written for by the elite composers and sought after for its unique tambre, technique, and versatility.