"3.?
. .,.l

, , u I .-

. . . rm}. -4! .

1. .9! .

\olvvf -}..f n I W.
5.3.9.1.“.0. J

( .353.
‘ s

.

'39

v. 4 ~ ‘
or A K .
vllvlvufiflsfy

ll IIIIIIII
.0)....

\u’ 10?..«‘
ocv c a... .

«litruv ‘

‘57'15‘1'...
.1» -

 

 

.. ..l .i‘ . \Y‘ufi‘.
|k¢|3

11. | '1. t.
V laud NIL.“ “(:11 x .
. ”0:”... 1'”! I

 

THESlS-

l

SITY LIBRARIE

Ill“WU“ll“!llllllllllllllllHI llllllll

3 1293 0157

 

 

 

 

 

 

This is to certify that the

thesis entitled

MUSIC ANALYSIS IN THE PRIVATE LESSON AND STUDIO CLASS:
PEDAGOGICAL APPROACHES FOR CLARINET PROFESSORS

presented by

MICHELLE NORMANDEAU SHOEMAKER

has been accepted towards fulfillment
of the requirements for

M.M. , Music Theory
degree 1n

 

 

 

ML

Major professor

Date May 19, 1997

0-7 639 MS U is an Affirmative Action/Equal Opportunity Institution

 

LIBRARY

Mlchlgan State
University

 

 

 

PLACE IN RETURN BOX to romovo this checkout from your rocord.
TO AVOID FINES rotum on or bdoro duo duo.

DATE DUE DATE DUE DATE DUE

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

MSU Is An Affirm-tho Action/Equal Opportunity lnotltutlon
Won-am

MUSIC ANALYSIS IN THE PRIVATE LESSON AND STUDIO CLASS:
PEDAGOGICAL APPROACHES FOR CLARINET PROFESSORS

By

Michelle Normandeau Shoemaker

A THESIS
Submitted to
Michigan State University
in partial fulfillment of the requirements
for the degree of

MASTER OF MUSIC

School of Music

1997

ABSTRACT

MUSIC ANALYSIS IN THE PRIVATE LESSON AND STUDIO CLASS:
PEDAGOGICAL APPROACHES FOR CLARINET PROFESSORS

By

Michelle Normandeau Shoemaker

Current pedagogical approaches to music analysis and performance focus mainly
on the undergraduate theory class or graduate elective class, with little attention given to
the application of analysis in the private lesson or studio class. Furthermore, the literature
available on this subject is mostly limited to articles that employ analytical methods and
technical language unsuitable for the lesson setting. My thesis suggests how an
undergraduate clarinet professor can successfully incorporate music analysis into the
private clarinet lesson and studio class by using three pieces from the literature as
examples: the first movement of the Clarinet Concerto, K622 by WA. Mozart, the first
movement of the Sonata in f minor, Op. 120, no.1 for clarinet and piano by Johannes
Brahms, and the song, “Der Hirt auf dem F elsen,” by Franz Schubert. Through the
integration of theory and performance, the clarinet student will be better informed to
make interpretive decisions and to communicate the music in an insightful and

convincing way.

C0pyright by
MICHELLE NORMANDEAU SHOEMAKER
1997

ACKNOWLEDGMENTS

I wish to thank my advisor, Dr. Linda Ciacchi of Michigan State University, for
her many hours of advice and guidance during the writing of this thesis.
I also wish to thank my husband, Ryan, for his patience and support through every

moment of this project.

TABLE OF CONTENTS

LIST OF FIGURES

CHAPTER 1
MUSIC PERFORMANCE AND ANALYSIS: AN OVERVIEW

CHAPTER 2

WA. MOZART: CLARINET CONCERTO, K622, MVT.1
The Analysis
Performance Issues to be Addressed in the Private Lesson or Studio Class
Pedagogical Techniques

CHAPTER 3

JOHANNES BRAHMS: SONATA, OP.120, NO.1, MVT. i
The Analysis
Performance Issues to be Addressed in the Private Lesson or Studio Class
Pedagogical Techniques

CHAPTER 4

FRANZ SCHUBERT: DER HIRT AUF DEM FELSEN, D.965
Analysis and Performance Suggestions
Pedagogical Techniques

APPENDIX A

APPENDIX B

APPENDIX C

BIBLIOGRAPHY

vi

10
ll
16
25

28
29
38
42

45
47
59
61
62
63

64

LIST OF FIGURES

Chapter 2:
Figure 1- Form of Clarinet Concerto, K622

Chapter 3:
Figure 2- Form of Sonata in f minor, Op. 120, no. 1, mvt.l

Figure 3- Motives 1a and 1b

Figure 4- Motives 2a and 2b

Figure 5- Motives 3a and 3b

Figure 6- Motives 1a and 1b embellished

Figure 7- Motive 1a contracted

Figure 8- Second theme inverted and original head motive

Chapter 4:
Figure 9- Form of Der Hirt auf Dem F elsen, D965

vi

13

29

30

30

31

31

33

37

48

Chapter 1

MUSICAL ANALYSIS AND PERFORMANCE: AN OVERVIEW

Professors of music theory seek innovative ways to prove to undergraduate
students that an understanding of theory is important to their development as performing
musicians, and welcome the collaboration of studio professors in nurturing a positive
attitude toward theoretical studies. For many students, the most effective way to instill
this appreciation for theory is by showing the connection between analysis and
performance. The undergraduate performer can often feel frustrated when struggling with
issues of interpretation and musicality, but if he or she can understand how the analysis of
a piece affects the choice of dynamics, phrasing, and articulation, the ability to make
performance decisions, as well as the student’s grasp of theory, will improve. In this
thesis, I provide a method of relating analysis to performance in the private clarinet lesson
and studio class by using three works from the standard repertoire: the first movement of
Mozart’s Clarinet Concerto, the first movement of Brahms’s Sonata in f minor, Op. 120,
no. 1, and “Der Hirt auf dem F elsen” by Franz Schubert. My approach, which uses
conventional analytical techniques, is intended to be accessible to applied professors with
varied backgrounds in music theory.

While the literature on music analysis and performance is not overabundant, it is

diverse in scope. Some excellent writings, however, have certain limitations when the

2

needs of the undergraduate clarinet student are taken into account. Edward Cone and
Erwin Stein, for example, address general issues of analysis and performance through the
use of excerpts that are taken mainly from the orchestral and piano repertoire.l Many
recent articles employ Schenkerian analysis to illustrate the musical structure of complete
or excerpted works.2 While a studio professor may be able to apply suggestions from
these Schenkerian-based articles, most undergraduate students’ analytical skills are
unfortunately too limited to interpret the highly technical notation. A more general
approach that relates music analysis and performance to music theory pedagogy provided
the most useful information for my thesis, and is discussed in detail below.

Two essays, one by Stanley Fletcher and one by Elizabeth West Marvin, address
the need for more music theory (specifically analysis) in the private lesson and studio
class. Fletcher puts forth his own “Theory of Musical Performance,” discussing the four
external elements that influence a performance: the performer, his or her instrument, the
score, and the audience.3 One of his most interesting concepts, which can be applied with
good results in the studio class, is that of listening as if the performer were a member of
the audience. Fletcher explains that after the performer has learned the technical aspects
of a piece, “he can himself become a listener, and by observing his own attention-

processes as affected by his own performance, he can pretty well know how the listener is

 

' Edward T. Cone, Musical Form and Musical Performance (New York: W.W. Norton, 1968), and Erwin
Stein, Form and Performance (New York: Alfred A. Knopf, 1962).

2 See Jonathan Dunsby, “Guest Editorial: Performance and Analysis of Music,” Music Analysis 8 (1989): 5-
20; Steve Larson, “On Analysis and Performance: The Contribution of Durational Reduction to the
Performance of 1.8. Bach’s Two Part Invention in C Major,” In Theory Only 7, no.1 (1983): 31-45; and
Edward Levy, “Analysis Applied to Performance,” College Music Symposium 19, no.1 (1979): l28-l 38.

3 Stanley Fletcher, “For the Performer,” pp.38-49, in David Kraehenbuhl, “On the Nature and Value of
Theoretical Training: A Forum,” Journal of Music Theory 3 (1959): 31-69.

3

being affected.”4 Despite good suggestions such as this one, the overall tone of his essay
is negative and, in my opinion, often defeats the attempt of trying to combine music
theory with performance. For instance, he spends much of the essay criticizing the
“rules” of music theory and the pedagogical approaches of theory professors.
Furthermore, only at the end of his essay does he casually mention the studio professor’s
responsibilities to discuss the form and structure of a piece during lessons and to help a
student rely more on critical thinking rather than simple “musical intuition” to justify
performance choices. Fletcher does not appear to emphasize that cooperation between
instructors in both areas is important to reinforce a positive attitude toward theoretical
studies among impressionable undergraduate students.

Marvin’s essay, “Integrating Music Theory Instruction into Studio Teaching,”
proposes that in order for students to relate positively toward theory, they need to be
encouraged in particular by their studio professors and ensemble conductors, since these
professors are often the most influential to their development as musicians.5 She suggests
that the books Structural Hearing: Tonal Coherence in Music, Part I by Felix Salzer,
Musical Form and Musical Performance by Cone, and Phrase Rhythm in Tonal Music by
William Rothstein be assigned by applied professors for discussion in studio class or the
private lesson. Marvin encourages the use of the first two chapters of the Salzer book as
an introduction to Heinrich Schenker’s theory of the structural function of chords, which
helps the student determine the broad harmonic motions in music. By teaching students

the basics of Schenkerian theory, the use of a very simple reduction graph to illustrate the

 

4 .
Ibrd., 43.

5 Elizabeth West Marvin, “Integrating Music Theory Instruction into Studio Teaching,” College Music

Society Newsletter (November 199]): 1-2.

4

structure of a piece become a possibility; however, since studio classes include students
of varying abilities in music theory, this is an ambitious task and would be more useful
for a select group of advanced undergraduate or graduate students. For an understanding
of hypermeter, which is the grouping of measures into larger metrical units with regular
alternation of strong and weak beats, Marvin suggests Cone’s book as well as
Rothstein’s, which opens with a discussion of “What is a phrase?” and “What is phrase
rhythm?” Another excellent suggestion by Marvin is for studio professors to serve as
bibliographic resources to their students, referring them to sources for review of music
theory concepts. I believe, in addition, that studio professors should encourage students
to read the historical background of the composer and information on the specific piece
being studied.

Another article by Marvin, “Intrinsic Motivation: The Relation of Analysis to
Performance in Undergraduate Music Theory Instruction,” uses analyses presented in
“Mid-bar Downbeat in Bach’s Keyboard Music” by Charles Burkhart and “Chopin’s
Prelude in D major, Opus 28, No.5: Analysis and Performance” by Carl Schachter to
design lesson plans and assignments that incorporate performance issues for an
undergraduate theory class.6 In reference to Schachter’s article, Marvin devises a written
assignment which asks questions on form and harmony, and how his analysis influences

the way the Prelude can be interpreted by a performer. In Appendices A, B, and C of this

 

6 Elizabeth West Marvin, “Intrinsic Motivation: The Relation of Analysis to Performance in Undergraduate
Theory Instruction,” Journal of Music Theory Pedagogy 8 (1994): 47-57; Charles Burkhart, “Mid-bar
Downbeat in Bach’s Keyboard Music,” Journal of Music Theory Pedagogy 8 (1994): 3-26; and Carl
Schachter, “Chopin’s Prelude in D major, Opus 28, No.5: Analysis and Performance,” Journal of Music
Theory Pedagogy 8 (1994): 27-45.

5

thesis, I include similar analysis “worksheets” that can be assigned to a private student or
an entire studio class.

Cynthia Folio’s article, “Analysis and Performance of the Flute Sonatas of J .S.
Bach: A Sample Lesson Plan,” also shows how to incorporate music analysis and
performance into the theory classroom.7 This article is an excellent contribution to the
field, for it adds a different perspective by addressing a genre other than piano music and
also includes a bibliography of music analysis and performance. Janet Schmalfeldt’s
approach in her article, “On the Relation of Analysis to Performance: Beethoven’s
Bagatelles Op. 126, N052 and 5,” is unique among recent articles; by presenting her
discussion as a dialogue between theorist and performer, the reader can identify with both
sides and understand the interrelationship of the two fields of music.8

While many of the articles on analysis and performance address works in their
entirety, only a few discuss pieces from the clarinet literature.9 Dennis Nygren’s article,
“The Chamber Music of Berg,” begins with an analysis of the structural connections
between the movements of the Four Pieces for Clarinet and Piano, Op.5.lo This is
followed by a brief section entitled “Suggestions to Performers,” which highlights the
differences between the copyist’s manuscript (who was Gottfried Kasowitz, a pupil of

Berg’s) and the printed edition of Pieces I-III. Nygren then analyzes the Adagio from The

Chamber Concerto for Violin, Clarinet. and Piano, followed again with “Suggestions to

 

,

7 Cynthia Folio, “Analysis and Performance of the Flute Sonatas of 1.8. Bach: A Sample Lesson Plan,’
Journal of Music Theory Pedagogy 5, no.2 (Fall 1991): 133-159.

8 Janet Schmalfeldt, “On the Relation of Analysis to Performance: Beethoven’s Bagatelles Op. 126, Nos. 2
and 5,” Journal of Music Theory 29, no. I (1985): 1-31.

9 See Edward Levy, “Analysis Applied to Performance,” College Music Symposium 19, no.1 (1979): 128-
138. This article discusses excerpts of Mozart’s Clarinet Quintet, K581, and the opening of the first
movement of Brahms’s Clarinet Trio, Op. 1 14.

'0 Dennis Nygren, “The Chamber Music of Berg,” Clarinet (Spring 1986): 28.

6

Performers.” In addition, this article includes a valuable translation of the German
musical terms in each of the works. Nygren’s article is directed toward the accomplished
clarinetist; therefore, suggestions for application in the private lesson or studio class are
not included.

One of the most significant contributions to the area of music analysis and
performance is Wallace Berry’s book, Musical Structure and Performance.H After a
brief chapter acknowledging the research of other theorists, Berry discusses twelve
“Examples of Interpretive Questions,” using specific musical excerpts to answer each
question. Some of the questions ask if a motive is self-evident, or if it needs to be
projected; what dynamics to play when there are none in the part; and how the analysis of
form and structure influence decisions about the groupings of events. In the last three
chapters, Berry applies his theory to Brahms’s Intermezzo in B-flat, Op.76, no.4; Berg’s
Four Pieces for Clarinet and Piano, Op.5, no.3; and Debussy’s “C’est l’extase
langoureuse” (Verlaine), no.1 of Ariettes oublie’e. The drawback of Berry’s book is the
highly technical and scholarly approach; the combination of difficult prose and extensive
Schenkerian analysis makes the book inaccessible to those without a substantial theory
background.

While all of these sources are excellent contributions to this field, none address
the application of music analysis in the private lesson and studio class in detail. My
thesis focuses on this topic, containing comprehensive analyses, performance comments,
and pedagogical techniques for each of the three pieces analyzed. My pedagogical

method includes directed listening and comparing of various performances by

 

H Wallace Berry, Musical Structure and Performance (New Haven: Yale University Press, 1989).

7

professional musicians, brief research assignments on the composer and historical context
of the piece, and specific exercises to guide the student through the type of questions that
should be asked when interpreting a work.

I recommend assigning listening exercises because the typical undergraduate
today enters college with little experience listening to classical music. The student may
be familiar with one composer or with particular pieces, but often lacks a well-rounded
background in music from different style periods. Students need to be encouraged to
listen to various types of art music, and the best way to engage their interest, in my
opinion, is to relate this listening to the music being prepared for a lesson. Ironically,
many distractions in a student’s life are musical: the music professor often competes with
pop, alternative, “oldies,” country, college radio, MTV, movie soundtracks, CD-ROM
interactive software, and the Internet. In order to attract and maintain their attention,
professors must try to keep students interested in classical music in a direct and exciting
way.

Initial listening assignments should include pieces that are similar in form or style
to the one being studied, which is an excellent way for the student to become acquainted
with a cross-section of the composer’s works. At this stage, reading assignments on the
biographical information of the composer, from The New Grove Dictionary of Music and
Musicians or a similar source, are also important. After these preliminary assignments,
the student can begin to listen to various recordings of the piece. ’2 To prevent students

from merely emulating a recording, they should be told to refrain from listening to one

 

'2 In “Integrating Music Theory Instruction into Studio Teaching,” p. 2, Marvin offers the opposing
viewpoint that “the comparison of recordings might best be saved until the work has been memorized and
the student is refining his or her interpretation for performance.”

8

recording on a regular basis. Most will welcome the encouragement to come up with
interpretive ideas on their own, based upon their analysis of the piece.

Some of the suggestions for analysis in chapters two through four must be
modified to the level of each particular student. For instance, students with advanced
theory and analytical skills can be expected to analyze pieces on their own, while others
may need more guidance from the studio professor. Since many of the first-semester,
freshman-year clarinet lessons are spent correcting basic problems such as hand position
and embouchure while at the same time building fundamental skills, the process of
learning literature is often postponed until the second semester. Fortunately, by that point
the student will have already studied music fundamentals and some basic harmony, and
should be able to handle simple analysis.

My performance suggestions address the common interpretive difficulties that an
undergraduate may encounter, revealing through analysis the typical ways that an
inexperienced musician may misinterpret a piece and how such mistakes can be avoided.
I did not intend to discuss every possible interpretation; I acknowledge that there are
many different analytical and performance options, and encourage applied professors to
discuss all appropriate choices with their students.

Musicians may argue that effective performances can be achieved without relying
on musical analysis. I do not deny that talented musicians possess what is called “musical
intuition,” and that this “intuition” incorporates a type of analytical process that is
virtually automatic. However, making the analytical process a conscious one will help
many students, especially undergraduates, understand more fully the music they are

learning and develop them into sensitive and intelligent performers. Berry summarizes

9

the role of analysis to performance by saying: “Analysis tempers the purely subjective
impulse, resolves unavoidable dilemmas, and offers means by which the teacher can

articulate ideas persuasively and rationally.”l3 Through the interrelationship of music
theory and performance, the musical experience for both student and professor will be

highly productive, intellectually stimulating, and mutually rewarding.

 

'3 Berry, 2.

Chapter 2

WA. MOZART: CLARINET CONCERTO, K622, MVT. l

A concerto is defined by The New Grove Dictionary of Music and Musicians as
“an instrumental work that maintains contrast between an orchestral ensemble and a
smaller group or a solo instrument, or among various groups of an undivided orchestra.”14
The evolution of the Classical concerto may be traced to Johann Christian Bach and the
changes he made to the Baroque concerto, modifying Vivaldi’s first-movement form by
combining aspects of concerto-ritomello and sonata form. Bach’s concerti served as
models for Mozart’s first original piano concerto.15

Mozart’s concerti matured from imitations of IO Bach to his own formal style. '6
For example, J .C. Bach’s concerti included a modulatory fantasia, a freer style of writing
which often introduced new material, instead of the development section of sonata form,
which expands thematic material heard in the exposition. As Mozart’s concerto form
evolved, the development section replaced the modulatory fantasia. Mozart also
expanded the instrumentation by adding winds, trumpets, and timpani to the string

orchestra. The definition of Mozart’s concerto form as orchestral ritomello sections

within a large-scale sonata form is very broad, and it has been noted by Forrnan that it can

 

'4 The New Grove Dictionary of Music and Musicians, 5th ed., s.v. “Concerto.”

'5 K Marie Stolba, The Development of Western Music: A History (Dubuque: Wm. C. Brown Publishers,
1990), 479-481.

'6 lbid., 479-480.

10

ll

be misleading.17 It is important to distinguish that the content of the orchestral ritomelli
is not entirely separate from the concerted sections. For example, the opening orchestral
ritomello functions as an introduction, beginning with a theme that is typically restated in
the solo exposition. The remaining orchestral ritomelli frame the solo sections,
continuing and closing one section while at the same time leading into the next. The
following analysis of Mozart’s Clarinet Concerto, K. 622, will show these typical
characteristics of Mozart’s first-movement concerto form, as well as qualities unique to
the piece.

The Clarinet Concerto was completed in October 1791, two months before
Mozart’s death, for the clarinetist Anton Stadler.‘8 Mozart wrote the original concerto for
basset clarinet in A, a new instrument developed by Stadler, which had an extended lower
range.19 According to a letter written by Mozart’s wife, Constanze, to his publisher, the
autograph was in Stadler’s possession; he claimed the score was in a trunk which was
stolen, but Constanze was informed by others that the trunk was actually pawned by

Stadler himself. The manuscript has never been recovered.

THE ANALYSIS

It goes without saying that an applied professor is most successful at teaching a

piece after he or she has learned and performed it. Likewise, a professor is able to teach

 

'7 Denis Forrnan, Mozart 's Concerto Form (London: Rupert Hart-Davis, 1971), 16-21.

'8 Lee Gibson, “The Clarinet Concerto: What Did Mozart Write?”, Clarinet 2, no. 2 (Feb. 1975): 14.

'9 Colin Lawson, Mozart: Clarinet Concerto (Cambridge: Cambridge University Press, 1996), 27-28. This
book examines the development of the clarinet in Mozart’s writing mainly from a historical perspective, and

12

the form and structure of a piece only after it has been thoroughly analyzed. With this in
mind, I will begin by examining the overall form and main key areas of the Clarinet
Concerto. Understanding the form of a piece and how its sections relate to the work as a
whole is essential for the student, for this awareness allows the student to articulate its
structure to the audience. If a student is ignorant of the form and what influence it has on
melodic and harmonic goals, it will be difficult to communicate the true meaning of the
piece.

The score used for the following analysis is from Neue Mozart-A usgabe, Serie V,
Werkgruppe 14, band 4, published by Biirenreiter.20 This edition uses the best available
sources, and clearly differentiates the editorial suggestions from what are assumed to
have been Mozart’s suggestions.” According to Lawson, “The myriad of other editions--
many by highly distinguished clarinetists--are generally more interventionist, some
”22

requiring careful interpretation.

The following diagram outlines the overall form of the Clarinet Concerto.

 

addresses issues regarding the original score for basset clarinet. A brief analysis of this movement is found
on pp.62-66.

2° Wolfgang Amadeus Mozart, Neue Mozart-Ausgabe, Serie V, Werkgruppe 14, Band 4 (Basel:
Barenreiter-Verlag Kassel, 1977), 83-123.

2' Lawson, x.

22 Ibid.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Section Orchestral Solo Exposition Orchestral Development
thomello Rllonltilp
measure 1-56 57- I 54 l54- l 71 172-227
sub- 57-78 78- ICC 100- I34 134-154 172-194 194-220 220-227
sections
Main Transition an Theme Group Closing lst Theme Trans. Theme Closing
Theme & Codetta Material Developed Developed Material
key areas A: l l a: i-lll-[V] E: l- vi- V 7-1 l l l V/ii
A: V V/vi (IV) (vi) [V]
Section Orchestral Ritomello Recapitulation Orchestral Riiomello
measure 227-251 251-343 343-359
sub- 251-272 272-288 288-322 322-343
sections
Main Transition 2nd Theme Group Closing Coda
Theme & Codetta Material
key areas vi IV V (l) I i-V l I l

 

 

 

 

 

 

 

 

 

Figure 1 - Form of Clarinet Concerto, K. 622

The opening orchestral ritomello introduces the main theme that will be heard in
the first statement of the clarinet. Variants of the thematic material at mm.16-24, as well
as the codetta and closing section at m.25 and mm.49-56, respectively, will be heard in
later orchestral ritomelli. The orchestral exposition remains in A major for its entirety.

The solo exposition begins at m.57, with the main theme supported at the lower
third by the first violins for four measures. After the initial eight-measure phrase, the
main theme and its harmony is heard in the first and second violins, accompanied by an
obbligato melody in the clarinet. The main theme ends with a cadential extension
(mm.73-76) and a perfect authentic cadence in A major.

The next two measures elide the main theme with the transition that follows,
modulating to the key of a minor in m.78. Within several measures, its relative major

key, C major, is established. Although C major is tonally related to a minor, it is distantly

14

related to A major, and its appearance in an A major piece is very unusual in Classical-era
music. Along with this untraditional tonal relationship, the melody of the transition is
independent of the main theme; typically, the melody of the transition grows out of the
main theme in standard sonata form. After approximately ten measures, this section
modulates to e minor by the use of a German augmented sixth chord in mm.92-93, ending
at m. 100 with a half cadence.

At m.100 the second theme group begins and the dominant key, E major, is
confirmed four measures later. Following a passage in c# minor, a half-diminished
seventh chord in m.124 leads to a half cadence at m.127.

A codetta, which parallels mm.25-3O from the orchestral ritomello, proceeds into
the closing theme at m.134, the accompaniment of which resembles mm.39-42. The
clarinet now has a virtuosic line above this closing material, which ends with a perfect
authentic cadence in E major at m. 1 54, bringing the solo exposition to a close.

The second orchestral ritomello of the movement follows from mm.154-171, with
most of the thematic material taken from the first orchestral ritomello. Whereas the
function of the opening ritomello was to introduce the exposition, this one closes the solo
exposition while at the same time introducing the development section.

The development begins at m.172, with alterations of the main theme in the solo
clarinet. At m.187 the phrase modulates to f# minor, with a half cadence at m.194. The
modulation back to the original tonic is already evident at this early stage in the
development, for f#, which is ii in E major, is vi in A major. (Furthermore, the upcoming
modulation to D major is more closely related to A major than E major.) The next six

measures connect the tutti section with the melody from the transition of the exposition,

15

modulating to D major in m.198; mm.200-209 then restate material found in mm.85-93
of the solo exposition. After a brief tonicization of c# minor in mm.205-208, the music
returns to f# minor by m.210. The four measures beginning at m.216 vary the motive
introduced at mm.194-197 and function as a transition into the closing phrase of the
development, which ends with a perfect authentic cadence in f# minor at m.227.

The orchestral ritornello that follows develops material from the opening
exposition while functioning as a retransition to the return of the main theme. Measures
239-246 reintroduce material from mm. 16-23 and modulate to E major, the dominant of
the original key. The clarinet enters at m.248, eliding with the cadence, then sustains its
e2 until the music returns to A major in m.25 1 , the beginning of the recapitulation.23

The transition section of the recapitulation (mm.272-288) remains in the key of a
minor for its entirety, without the modulation to C major that occurred in mm.78-100. In
addition, different melodic material is featured in mm.275-285. The orchestral tutti of
mm.286-288 ends with a half cadence, eliding with the second theme group.

As expected in sonata form, the second theme returns in the tonic key of A major
in m.291. Although mm.303-3ll contain new material in the clarinet, the violin lines
closely resemble the material heard at mm.115-123 of the exposition. Also, at m.304, the
piece has briefly modulated to f# minor (vi of the tonic key, rather than the more common
digression to IV found in Classical-era recapitulations) before returning to A major at
m.312.

The codetta after the fermata corresponds to that of the solo exposition; however,

two measures of closing material have been omitted from the clarinet part at mm.322-

 

23 Throughout this thesis, references to the clarinet’s pitches will be in concert pitch.

16

333, probably to allow the soloist to rest before the closing section. This section is also
similar to earlier material, with a perfect authentic cadence in the tonic key completing
the recapitulation at m.343. The final orchestral ritomello contains material from

previous ritomelli, functioning as a coda for the movement.

PERFORMANCE ISSUES TO BE ADDRESSED IN THE PRIVATE LESSON OR

STUDIO CLASS

The main goal of a performer is to communicate a piece of music as the composer
intended. This is not always an easy task, given the often limited information in the
score. When preparing the Clarinet Concerto, many issues of interpretation face the
clarinetist. Mozart used dynamic markings sparingly, and they were mainly indicated in
the orchestral accompaniment. Many of the performance suggestions in this section
address the issue of dynamics and how to use them to shape the solo line. Another area
of uncertainty is articulation. According to Lawson, Mozart expected that the phrasing
and articulation practices of the time would be performed by the soloist.24 He also states
that a detached, articulated style was common during Mozart’s time, and many writings
of the Classical era discuss how attention to detail was a component part of an expressive
performance.25 Specific nuances of articulation will be suggested in the comments that

follow.

 

2" Lawson, 73-74.
2’ lbid. Lawson refers to clarinet tutors by Backofen and Lefevre as well as writings by Quantz and C.P.E.
Bach.

17

Once the form and key areas have been determined, the professor must acquaint
the clarinet student with the phrase structure, melodic structure, and texture of the piece.
Through this type of analysis, appropriate performance choices will be clearly revealed.

At the beginning of the solo exposition, the clarinet plays an eight-bar phrase with
an antecedent-consequent construction. The student needs to determine the goal of this
phrase, the downbeat of m.64, so that the intermediate measures can be accurately
interpreted. The antecedent, mm.57-60, needs to be performed as one gesture; some
students may have a tendency to give too much emphasis to the second c#2 in m.58 due to
the articulation in this measure, the subphrase ending on the relatively accented third beat,
and the quarter rest on beat four. By lifting slightly on the c#2, however, the line will
more naturally connect with the two measures that follow. Another performance
consideration in the first two bars of the phrase is the f#2 appoggiatura on the downbeat of
m.58. To lead into this figure, a slight but intense crescendo should be applied in the
previous measure. In order to maintain the direction of the antecedent phrase, a
crescendo on beats three and four of m.59 will lead the music from the ii6 harmony to the
arrival at the half cadence, followed by a small decrescendo and slight lift at the end of
m.60. This lift will allow the listener to hear the continuation of the phrase into the next
measure, in which the leading tone resolves to the tonic.

The first measure of the consequent phrase, m.6l, begins with neighbor motion
that decorates the tonic pitch, then moves stepwise toward the dominant. The rhythm
leads into the downbeat of m.62, where the melodic and rhythmic weight is shifted to beat
two by a large upward skip. The leap can be emphasized with a bit of rubato in order to

bring out the change of direction and melodic design. In his essay “On the Relationship

18

of Analytical Theory to Performance and Interpretation,” Eugene Namour discusses the
following hypothesis, which may be applied to this passage:

. . . the first hypothesis we need in order to analyze the performance of melody is

this: with the possible exception of the leap of an octave, the larger a melodic

interval is, the more implicative it is . . .26
Narmour continues by stating the harmonic and rhythmic context of the passage needs to
be considered for such a hypothesis to be valid. At m.62, the minor seventh interval,
which leaps to the seventh of the dominant chord, supports his claim. The chordal
seventh needs to resolve down by step, and it is further emphasized rhythmically by the
syncopation stressing the second beat. Since there are many factors drawing attention to
the d2, any rubato taken should not overemphasize this measure.

A parallel period and cadential extension follow in mm.65-75. In mm.65-68,
phrasing techniques should be employed in the clarinet that coincide with the thematic
material in the first violins, as suggested by the Bilrenreiter edition. The four-bar
subphrase that follows delays the resolution of the V chord of m.68 until m.7l, so a slight
crescendo in m.7O can help lead the line into the a2 on the next downbeat. This note,
however, is one of a series of eighth notes in this bar, and the clarinetist should perform
all of them in a light manner, as indicated by the printed articulation (slightly detached,
yet still legato). This will allow for greater contrast in the closing cadential extension.
By examining the applied dominant harmony in m.72, one can hear the leading function
of this measure into the next, so the pitches bl-c#2-d2 in m.72 should gradually increase in

intensity to the next downbeat, which is an intermediate point before the goal of al in

m.75.

 

26 Eugene Narmour, Explorations in Music, the Arts, and Ideas (Stuyvesant: Pendragon Press, 1988), 328.

19

The four-bar cadential extension beginning at m.73 overlaps with the beginning of
a new section in m.76, where the strings have a two-measure link into the transition. This
link is important in establishing the tone of the transition and its contrast to the main
theme. After a perfect authentic cadence in m.75, at a forte dynamic employing the entire
orchestra, the texture is suddenly thinner and the dynamic is piano in the following bar.
The relative minor key, a minor, appears at the start of the transition, suggesting the use
of a darker tone color in the clarinet to highlight the minor key and lyrical melody. The
goal of this eight-measure phrase is the e2 on beat two in m.85, with an intermediate goal
of aI on the second beat of m.80. A crescendo should be performed in m.81 , brought on
by the harmonic instability of the V7 of the new key, C major. This crescendo leads into
m.82, where arpeggiations of the V7 chord are featured. I suggest playing the triplets in a
detached manner, yet not staccato, and employing a slur-two-tongue-two articulation
during m.83, providing contrast to the legato character of the end of the phrase at mm.84-
85 (and the melody that follows in mm.85-90). A tenuto placed on the f2 in m.83 draws
attention to the dissonance of the still-unresolved seventh, and a slight decrescendo and
change to a lighter tone at m.84 leads into the legato melody of the next phrase.

The passage at mm.86-94 begins with a new accompanirnental texture in the first
violins, which is pianistic and thinly scored. The clarinet can be quite soft here, without
the threat of a balance problem. A crescendo should begin in mm.88-89 to lead into the
harmonically unstable German augmented sixth chord in m.92. This can be reinforced by
playing the c2 and e2 of m.89 with a slight articulation, so that the first instance of this
motive (m.87) would be staccato, the second (m.89) slightly articulated, and the last

(m.90, only one bar later), legato. Measures 91-94 should continue to increase in

20

dynamic, leading into the half cadence in e minor at m.94. The last four measures of this
passage feature the chalumeau register, which has not yet been used in the movement.

For this reason, mm.94-95 should be played stronger than the next two measures, which
are an octave higher; in turn, this would also allow greater contrast to mm.98-99, which is
dense in texture and suddenly forte. The two-measure tutti phrase serves a dual function
by completing the transition and eliding into the second theme.

The first two phrases of the second theme group oscillate between legato and
articulated textures in both the clarinet and the accompaniment. The second theme group
is also more regularly constructed into clearly-separated eight-measure statements, unlike
the elided phrases of the main theme, with the exception of the codetta from mm.128-
134. Internally, however, mm.100-107 are irregularly divided into subphrases of four and
one-half and three and one-half bars, overlapping in m.104. I suggest playing the aria-
like line of the first subphrase in a dolce style and with a light tone color. Tenuto may be
placed on the downbeats of mm.101-102, and the soloist should take care not to accent
the low notes of these figures. The second subphrase features short, articulated passages.
Since mm.106-107 are a varied repetition of the previous two bars, play them a bit
stronger in dynamic. In contrast, the next phrase (mm.108-115) will begin piano to allow
for a gradual crescendo to the intermediate goal of e2 on the downbeat of ml 12. In this
bar, a slight rubato can be taken on the b2 to begin the next four-bar subphrase. The e2 at
m.114 should be shaped by a crescendo to coincide with the diminished seventh chord in
the accompaniment, and a slight decrescendo and lift should complete this phrase.

The next phrase of the second theme group (mm.115-127) begins with the

accompanimental texture from m.86. The first two measures of the clarinet’s phrase can

21

be described as the “question” to the “answer” that follows in the next two measures.
The first part should be played softly and dolce, in contrast to the second part, which is in
the dark, robust range of the clarinet. This section repeats and then leads into the four
measures that precede the fermata. The triplets at m.123 should crescendo into the a2 of
m.124 to help emphasize the half-diminished seventh chord, then taper before increasing
the dynamic again through the next set of triplets to the downbeat of m. l 25. A tenuto on
the downbeat of m.126 can further highlight the a2 pitch, which now occurs over the
dominant harmony and initiates the arpeggiation that leads to m.127.

The fennata needs special discussion. A unique aspect of this movement is the
absence of a cadenza between the recapitulation and the coda, typical in Mozart’s other
concerti.27 Instead, one finds a fennata in m.127 (and later in m.315) that may be briefly
decorated as suggested in the Barenreiter edition. Gibson, in his article on the Clarinet
Concerto, acknowledges that these decorations were expected during Mozart’s time.28
He points out that cadenzas are intended to be followed by “positive thematic statements
or orchestral tuttis,” and expresses the opinion that a cadenza would not be appropriate in
these measures. Unfortunately, he does not comment on what type of decoration would
be preferable for these fermatas. In Lawson’s analysis of the first movement, he states
that “the first of the movement’s two short cadential flourishes occurs on a dominant
seventh chord of E . . . inviting a short elaboration from the soloist.”29 Evidently, a brief

decoration rather than an extended cadenza in these measures reflects the style of the

period without distorting the intended form.

 

27 Stolba, 481.
28 Gibson, 17.

22

The seven-measure phrase of the codetta begins with the head motive of the main
theme written in stretto between the first violins, Violas and cellos, and clarinet. When
the clarinet enters in m.129, this imitative entrance should use the same articulation as the
strings, as indicated by the Biirenreiter score (although many performers do not follow
these articulation indications). To avoid having the closing theme at mm. 1 34-138 sound
like a finger exercise, tenuto should be placed on beats 1, 2, 3, and 4 in the clarinet,
coinciding with the cello line, as well as on the second half of beat four (creating in
m.134 the figure e, f#, e, d#, f#). At m.141, articulation varies from player to player. The
clarinet professor may modify the articulation according to the capabilities of the student
or based upon individual preferences. At m.142, rubato can easily be taken on beat two
due to the sustained accompaniment on the applied dominant harmony. A crescendo
should be performed through mm.145-147, emphasizing the applied diminished seventh
chord in m.147 and leading into the cadential six-four chord of the next bar.30 After the
downbeat of m.148, the clarinetist must begin the thirds at a piano dynamic and gradually
crescendo to the highest note of the phrase, b2 at m.150. A decrescendo through the next
bar allows the soloist to employ one more dramatic crescendo at the end of the
exposition, from m. 152 into the trill at the cadence.

The development begins with a variant of the lyrical main theme in a texture
similar to that of the solo exposition. The initial eight-bar phrase contains two identical
four-bar subphrases. To prevent the music from becoming static and inexpressive, the

second subphrase should be performed at a pianissimo dynamic, and the same technique

 

29 Lawson, 64. Beats two and three of m. 145 and 146 are performed an octave higher to allow for unbroken
arpeggios. (This is believed to be closer to Mozart’s liking.)
3° Gibson, 15.

23

can be used for the identical passages that occur in mm.180-184. Beginning at m.184,
however, a crescendo should lead into the climax of the phrase at m.187, maintaining a
forte level into the cadence at m.192. The syncopated rhythm against the metric
accompaniment in mm.188-189 also helps to drive this phrase forward. Slight accent
should be placed on the b# in m.191 to emphasize the applied dominant in f# minor.

At m.198, the contrast to the previous measures should be brought out by a
brilliant tone and forte dynamic. A slight rubato could be taken on the first g2 of m.199,
emphasizing the V7 that is a part of the cadence in D major. A change to a lighter tone
color may occur in the following bar, due to the thinner texture in the accompaniment and
the lyrical qualities of the melody. As in the corresponding section in the exposition, a
crescendo should lead from m.211 into m.213. The dynamic level and intensity must be
maintained to m.214; the syncopated rhythm, however, will cause the phrase to drive
forward, so care needs to be taken not to rush. At m.216, the clarinet remains piano as its
unstable line leads to m.220, which begins the prolongation of the dominant of f# minor.
A brighter color at the start of this passage will bring out the Neapolitan harmony in
m.216 as well as highlight the chromatic progression leading to V; a crescendo should not
begin until the end of m.221. By decreasing the dynamics at m.224, the chromatic eighth
notes leading into the trills can be shaped by another crescendo that would continue to the
cadence at m.227.

Following the ritomello, the clarinet enters at m.248 for the brief retransition to
the recapitulation of the main theme. This entrance should be strong, but with a
decrescendo at the end of m.250 to return to the dynamic level of the beginning of the

exposition. In other words, the clarinetist should leave room to shape the opening phrase

24

in the manner already discussed. The e2 at the downbeat of m.25] should not be
rearticulated, as it is often performed, for this interrupts the transitional function of the
previous three bars.

The phrase structure in the recapitulation mirrors that of the exposition until the
transition section. While mm.272-274 correspond to mm.78-80, the music of mm.81-94
is omitted and replaced with sequential material. At mm.278 and 282, the clarinetist
needs to connect the solo line with the melodic fragments that occur in the first violins.
As in the exposition, the dark color of the low register should be brought out at mm.282-
284 to provide contrast to the preceding lyrical melody. This material is again repeated
and, as suggested earlier, should be a played at a softer dynamic. The next section is
similar to the corresponding phrase in the exposition, and there is room for rubato at the
leap in m.300 to emphasize the change of register (another example of an implicative leap
described by Narmour) and set the top note of the legato. Although a varied melody
appears at mm.303-311, the phrasing discussed for mm.115-123 may be used here,
including the brief decoration of the fermata. When the clarinet enters with the closing
material, tenuto should again be applied as in the exposition. At mm.326-328, the slur
markings are not included in the Barenreiter score as they were in the exposition
(mm.138-140). The simplest option for most students would be to slur each of these
measures; however, this may an appropriate spot for the student to decide on a different
articulation. Another place for rubato is the a2 at the downbeat of m.330; this will
emphasize the dominant of D major that is sustained in the orchestra. The dynamics and

phrasing for the remainder of the recapitulation parallels that of the exposition.

25

PEDAGOGICAL TECHNIQUES

As demonstrated by the new theme that occurs in the transition, Mozart’s Clarinet
Concerto does not fit into the typical concerto form. For this reason, one of the first
assignments for the student would be to listen to a model of standard concerto form, such
as the first movement of Mozart’s Piano Concerto in Bb, K.595. According to Stolba,
this work is “Classical in every respect. In it, Mozart’s complete mastery of concerto
composition is evident; the first movement is a textbook example of concerto-sonata
form.”3 I A reading assignment reviewing the standard concerto form could be given in
conjunction with the listening assignment to help the student recognize the form of the
Piano Concerto. In the following lesson, the large sections and key areas of the Piano
Concerto could be determined, preferably by the use of a score and recording; to save
time, more advanced students could write the analysis on their own and the teacher could
correct their work.

Listening assignments would continue into the next week. A few different
recordings by various clarinetists (including the professor!) would be assigned, with a
brief discussion of the differences in the performances during the following lesson.

The next step is a matter of preference for the professor. If the student is still
young (in terms of playing ability and intellectual maturity), then a guided tour through
the form of the Clarinet Concerto would be the best choice. This would occur over a few

lessons, or until the student has finished working through the piece. If the goal is to guide

 

3' Stolba, 524.

26

a student into making more independent musical decisions, then the student could be
asked to do the analysis on his or her own.

The performance choices already discussed can be worked into the private lesson
through directed questions for the student. For example, the student could be given short-
answer questions to work on during the week while learning the technique of the
concerto. Appendix A contains a sample worksheet that could be used, which is modeled
after a worksheet Elizabeth West Marvin created to use as an assignment for a theory
class.32 This particular worksheet is geared toward a student with three to four semesters
of basic music theory. It would be necessary to modify the questions if the student has
had less experience with tonal harmony.

When dealing with literature such as the Clarinet Concerto that will eventually be
performed by most undergraduate clarinetists, listening assignments could also be given
to the entire studio class and discussed as a group. Under these circumstances, more time
could be spent examining the finer points of concerto-sonata form. These sessions would
also give the students practice in communicating musical ideas verbally in a convincing
way.

If a student were preparing this concerto for a competition or performance, it
would have to be memorized. Instead of merely learning notes or finger patterns, the
student who has carefully analyzed this piece will know how the phrases and larger
sections relate to one another, and as a result will be more successful with memorization.

The preparation of the Clarinet Concerto can be quite daunting to young

clarinetists. If the path to a complete understanding of the formal, melodic, and harmonic

*

32 Marvin, “Intrinsic Motivation,” 55-56.

27

structures is taken, the students will play this challenging work with confidence and

artistry.

Chapter 3

JOHANNES BRAHMS: SONATA, OP. 120, NO. 1, MVT. l

Johannes Brahms created a new chamber form by utilizing the clarinet in duo-
sonatas, which had been a genre for mainly strings and piano.33 In 1891 , Brahms heard
the clarinetist Richard Miihlfeld perform Weber’s clarinet compositions and, as a result,
composed the Trio in a minor, Op. 114, followed by the Clarinet Quintet in b minor, Op.
115. In 1894, he composed the Sonata in f minor, Op.l20, no.1 and the Sonata in Eb
major, Op. 120, no. 2 for Miihlfeld.

Brahms’s musical style combines elements of Romanticism, such as rich
harmonies, lyrical melodies, and unconventional modulations, with formal characteristics
of Classical style.34 In reference to Brahms’s treatment of sonata form, Joel Lester states
that “Brahms is probably the only composer of the latter half of the nineteenth century
who attempted to re-create a vibrant sonata form as a single overarching form of a
movement.”35 He explains the essential quality of sonata form as a single large tonal
motion that proceeds from the beginning of a movement to the end.36 Whereas
composers of the nineteenth century such as Schubert, Schumann, and Mahler

experimented by expanding the traditional sonata form, creating movements with distinct

 

33 Michael Musgrave, The Music of Brahms (Oxford: Clarendon Press, 1994), 251.

3" Stolba, 707.

35 Joel Lester, Rhythms of Tonal Music (Carbondale: Southern Illinois University Press, 1986), 240.
3° lbid., 229-241.

28

29

sections (many with their own formal schemes) that sometimes lack unifying melodic,
harmonic, or rhythmic elements, the first movement of Brahms’s Clarinet Sonata inf
minor, Op. 120 is an excellent model of “overarching form,” as shown in the following

analysis.

THE ANALYSIS

The score used for the following analysis is the Sonatenfih' Klavier und

Klarinette oder Viola, Opus 120, published by Henle.37

The following chart outlines the form of the movement.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

section Exposition Development
measures l-89 90- l 31
. , . . . Transition Intro. 2'“ Group Retransition
nd
small section Introduction Main Theme Group Transrtion 2 Theme Group Material material Material (intro. mat.)
measures l-dS 5-d38 38-52 53-89 90-leO IOO-IIS ll6-ll9 120-129 l30-l37
. . fl-E (seq)
fr 1 VI v “I E: [V7] cit: c 7
key areas (1 vi) V chordssuseq. fii:----V (0,)
PW“ by f: VI-(+6 )
section Recapitulation Coda
measures 1 38-205 206-236

 

small section Main Theme Group Transition 2"d Theme Group

 

measures I38- 152 l 53- I67 168-205

 

key areas i l i i ............ 1

d=downbeat

 

 

 

 

 

 

 

Figure 2 - Form of Sonata in f minor, Op. 120, no.1, mvt. 1

 

37 Johannes Brahms, Sonatenfiir Klavier und Klarinette oder Viola, Opus I 20 (Miinchen: G. Henle Verlag,
1974), 5-33.

 

30

Much of the melodic material used in this movement is quoted or derived from
several specific motives. Motive 1a, from ml to the downbeat of m.2, is characterized
by an ascending perfect fourth followed by two descending major seconds, and is
primarily stated in quarter note rhythm. Motive 1b, eliding with the end of 1a in m.2, is
characterized by the double neighbor figure (or similar contour) and a rhythm of dotted

quarter followed by three eighths (fig. 3).

 

 

 

 

 

 

 

 

 

l
tb
1151.} . i... . , as! .
'1 r i 4L4, :ITI' 441 hi__~__~i;______§
I Y

Figure 3 - Motives 1a and lb

The remainder of the material in the introduction is derived from these two bars, eliding
with the statement of the main theme.

The main theme group begins in m.5 with an eight-measure phrase in the clarinet.
Motive 2a, the descending triad in mm.5-6, generates motive 2b in mm.7-8, which
appears several times in this movement. Along with the descending third of motive 2a,

motive 2b incorporates the rhythm of motive 1b (fig. 4).

F
1%-

<

C
In:
dI—hflu
in“

t—
1

c1»
====

 

Figure 4 -Motives 2a and 2b

3]

Motive 3a appears in m.6, characterized by the ascending minor tenth in a rhythm of half
note followed by quarter note. This in turn generates motive 3b in m.8-downbeat of

m.11, which is also developed throughout the movement (fig. 5).

 

30. fl n3b fl I } flaw—K;

I
I I

Q
:1
“H1
Midi-1—
‘l-Ih“
‘lr—Il—tb
1.1—qu

Figure 5 - Motives 3a and 3b

The second phrase of the main theme group begins with an antecedent phrase in
m.12, characterized by the syncopated rhythm in the piano that accompanies melodic
material derived from motives 1a and lb. The consequent phrase, starting at m.16,
features motive 1a embellished by octave displacement and eighth-note motion.
Measures 19-20 contain a similar embellishment of motive la in the piano, superimposed
with statements of motive lb in the clarinet. The cadential extension that follows utilizes
a varied inversion of motive 1b in augmentation, creating a hemiola in mm.21-22 (fig. 6)

and eliding into the third phrase of the main theme group at m.25.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

' 1’ 1%.? {if if 1&4.
' [I II
b
[Illh #— .-- 1‘1 3* “L 1
9}; :9 E F'— lF ‘F r9 I} j]
i VI I II i I
H

Figure 6 - Motives la and 1b embellished

32
In the third phrase, the piano has an embellishment of the main theme. The clarinet

responds to the piano in m.26 with descending thirds derived from motive 2a, now in
diminution; in mm.28-30, falling and rising arpeggiations in triplets complement the
rhythm of the bass line of mm.25 and 27. This is the first extensive use of the triplet
rhythm, although Brahms has anticipated these figures with the use of a triplet at the
approach to the cadence in m.11. Measures 32-37 complete the main theme group with
motive 3b in the piano and more arpeggiations in triplets in the clarinet, while the
cadential extension retards the motion (by using the rhythm of motive lb, tied over the
bar in mm.36-3 7) in order to close this section and introduce the transition. The main
theme group remains in the key of f minor for its entirety, colored with the occasional use
of blI harmony. This harmony is foreshadowed with the Gb passing tone in m.4, then
presented as Neapolitan-sixth chords in mm.8, 24, 28 and 33.38 The use of Gb beginning
at m.33 provides a pedal tone (transferred by octaves) that ultimately becomes the seventh
of the V7 chord in Db major, effecting the modulation to that key at the beginning of the
transition. With this modulatory technique, Brahms departs from traditional sonata form
in which the expected initial key of the transition is the tonic, not VI. In addition, this
transition introduces a new theme, whereas a typical transition grows out of main theme
material.

At m.38 the piano begins the first phrase of the transition with motive 1a in
hemiola in the bass. The clarinet answers with a variant of the same motive, transposed
and ordered ebl-bbl-dbz, which in mm.42-46 is repeated, extended, and modified to create

a hemiola with the piano in mm.44-45. This material, as well as the related material in

¥

38 Roger Graybill, “Brahms’ Integration of Traditional and Progressive Tendencies: A Look at Three Sonata

33

the remaining seven measures of the transition, is used later in the development. The
hemiola is the characteristic rhythmic element of the transition, recurring in mm.46-47,
48-49, and 51-52.

The second theme group begins in m.53 in c minor, v of the tonic key. This key
change happens abruptly without preparation by its dominant, which ordinarily occurs in
the transition of classical sonata-fonn movements. As with the key of the transition, the
modulation to v is a departure from the harmonic scheme of a typical minor-key sonata,
in which the second theme would be in the relative major, or III.39

The melodic material at the start of the second theme group is constructed as an
eight-measure phrase, the same phrase length of the main theme group. Other aspects of
this new theme are also derived from earlier material; for instance, the sixteenth- to
quarter-note rhythm at the end of each measure is related to the rhythm in the piano at
mm.12-17. However, the syncopation has moved from the accompaniment to the melody
and from beat two to beat three, giving the second theme a rhythmic character that
contrasts with the melodic material of the main theme group and transition. A link to the
opening of the work is found in m.54, which contains a modified and contracted version

of motive 1a (fig. 7).

J fly a. $4 .. -
A
. w j. u p

E==i_~‘___.i

Figure 7 - Motive la contracted

A: r-

eLLL

 

-‘

Expositions,” Journal of Musicological Research 8 (1988): I45.
3’ lbid., 144-147.

34

At beat three of m.60, the beginning of the next eight-measure phrase elides with the end
of the previous phrase. The momentum builds and the register climbs with an
augmentation of the second theme in the piano and virtuosic runs in the clarinet. At m.68
a continuous sixteenth-note rhythm is established by the piano, reflecting the gradually
increasing rhythm of this section. The clarinet enters in canon to the piano with a
descending scalar melody in m.69, which is then embellished with the descending-third
motive when the clarinet leads the piano in mm.72-74. The clarinet line is transposed
down an octave beginning in m.74, leading to a cadential extension during which the
sixteenth-note motion in the piano is interrupted and eventually stopped.

The closing section of the second theme group begins with new melodic material
in the piano, although answered by sixteenth-note figures in the clarinet derived from
material found in m.62. Also reminiscent of previous music is the hemiola rhythm in
mm.79-80 and 86-87, which comes from the transition. A phrase elision occurs in m.8 l ,
where the material from m.77 is repeated; however, the clarinet enters two beats early in
m.82 with only a fragment of the run. A dialogue between the piano and clarinet
continues into the expanded cadence that closes the exposition.

The construction of the second theme group contributes to the overarching form
of this movement. Lester discusses the consistent structure of second theme groups
within Classical sonata-form movements, a section which must serve a dual role by
confirming the new key of the exposition while at the same time avoiding a conclusive

cadence until the end.40 To accomplish this, the second theme group typically uses

g

‘° Lester, 229-230.

35

extensions or elisions that delay the cadence of a phrase, a feature seen in the second
theme group of this sonata. Lester continues by stating that the closing phrases of the
second theme group usually feature a series of short cadential phrases, each eliding with
the next, before the final resolution is reached; this occurs in mm.77-89 of this
movement.

The development begins in Ab major, effected by the implied 5-6 motion over the
bass from the end of the exposition. The harmonic relationship between the second
theme group (c minor) and the opening of the development (Ab major) is i-VI, the same
harmonic relationship between the main theme group (f minor) and the transition (Db
major). There is no clear confirmation of Ab major during the development, however, for
the root-position tonic chord is avoided. The material in the piano is derived from the
transition and motives la and 1b, while motive 1a in its reordered form of mm.40-41 ,
followed by motive 1b, create the thematic material for the clarinet. At m.100 the
development modulates to E major, again with no clear confirmation of the key; Brahms
creates a smooth modulation through an enharmonic relationship that transforms the Ab
pitch into 3 of E major. Measures 100-115 develop melodic material from the transition,
continuing the imitation of motive 1b until it dissolves into the eighth notes of mm] 12-
115. The next four measures restate the theme from the introduction and modulate to c#
minor by m. 120, another third relationship to the previous key, where the head motive of
the second theme is developed. A subsequent modulation to f# minor begins in m.123
through a sequence of dominant seventh chords whose roots descend by fifth every two
beats (D#7 on beat three, m.123; G#7 on beat two, m.124; C#7 on beat one, m.125;

resolves to F# on beat one of m.126). Following two sequential and highly unstable bars

36

of music, the dominant of c# minor in m.128 leads to the cadential six-four, dominant
seventh, and tonic chords of f# minor, finally confirming this key in mm.129-130. The
agitated harmonic rhythm of this section is accompanied by an increase in melodic-
rhythmic activity in the instrumental lines. Stretto entrances of the fourth bar of the
second theme (derived from m.56) begin in m.123 at a distance of two beats, and
continue in m. 125 at one beat. The piano then extends this syncopated rhythm through a
scalar line that descends two octaves. The rhythmic intensity is brought to a halt at
m.128, where the figure G#-c#-B# of the left hand, followed by c#-f#-e# in m. 1 29,
foreshadow the modified statement of motive la in m.130. At this point, the clarinet
closes its short phrase as the theme from the introduction, serving as a retransition, begins
in the piano. The introductory material is extended beyond the cadence in m. 134 and
elides with mm.136-137, where the piano’s triplet rhythm anticipates the accompaniment
that will appear in the recapitulation. The final measures of the retransition modulate
from C# major, V of f# minor (and, enharmonically, VI of the original tonic, creating
another VI-I relationship) through a German augmented sixth chord in m.137, arriving at
f minor at the beginning of the recapitulation.

In the recapitulation, the main theme is not repeated exactly as in the exposition;
instead it is decorated with triplet figures, which complement the accompanimental figure
in the piano. The remainder of the main theme group (mm. 145-152) is truncated, for the
corresponding material from mm.13-37 is not restated. Instead, an inversion of the head
motive of the second theme over a pedal tone in the clarinet at mm.147-150 (fig. 8) is

accompanied by a rhythmic figure in the piano that is similar to mm.12-17.

37

 

m.53

 

I
0 I I 'Ja A
E 11 A?
I 1 F

I 7173'] I I I J l
j

Figure 8 - Second theme inverted and original head motive

 

_.LL

 

The transition contains the same thematic material found in the exposition, but in
F major, the parallel major key; the original (minor) tonic returns for the recapitulation of
the second theme group. Unlike the dialogue that occurred between the instruments in
mm.53-56 of the exposition, the piano states the second theme alone during the first four
bars of the phrase, with the clarinet entering in m.172 against the sixteenth-note figures in
the piano. The material that follows at mm.183-19l is essentially the same as that of
mm.68-76, but a new complexity of rhythm causes the melodic lines not to align as
before. At m.184, Brahms diminishes the length of each melodic note in the piano by one
sixteenth note, creating a four-against-three rhythm against the clarinet for this measure.
The same figure recurs when the clarinet has its next scalar descent in mm.185-186.
These bars are the rhythmic climax of the recapitulation and of the entire movement, the
intensity dissipating with the return of the falling third figures in mm.187-191. The
closing material that follows is similar to that of the exposition, concluding with a series
of chords in mm.202-205 that relax the rhythm for the coda.

The design of the recapitulation also reflects Lester’s notion of overarching form.

In the recapitulation of a Classical sonata-form movement, the length, texture, rhythm, or

38

harmony of the main theme is sometimes varied in order to connect it with the end of the
development; in turn, the main theme is followed by a restatement of a substantial portion
of the second theme group.41 Despite the omitted measures, the recapitulation of this
movement does exhibit these features, effectively linking it with the exposition and
development sections.

The clarinet initiates the coda in m.206 with the main theme in a lower octave, the
altered pitches of a natural (m.207) and d natural (m.208) supporting the applied
dominant and Bb major harmonics in those bars. The following measures feature
imitation between piano and clarinet, which continues (mostly in inversion) through the
phrases of mm.214-d219 and 219-226. A continuous triplet rhythm for three bars begins
in m.221 due to the stretto between the instruments, but at mm.224-226 the rhythmic
motion is decreased in preparation for the final statement of the introduction, this time in
a lower register of the piano. The clarinet echoes the piano at m.231, cadencing with a
major I chord which provides a brighter tone color to the closing of an otherwise dark and

dramatic composition.

PERFORMANCE ISSUES TO BE ADDRESSED IN THE PRIVATE LESSON OR

STUDIO CLASS

The goal of the clarinet’s first phrase is the g1 in m.12, confirmed by the leading
tendency of the applied dominant in ml] and the half cadence. The intermediate goal of

this phrase, the bbl in m.8, needs to connect the first half of the phrase to the second and

 

4' lbid., 24o.

39

must be shaped to lead into the dbz. During mm.8-10 the wide leaps may cause a student
to segment the line by clipping the upper note of each interval; a firll quarter note value
should be played on beat three of each measure to lead into the following downbeat.
Awareness of the construction of this phrase, as well as technical control, are the tools
needed to perform this line musically. In m. l 7, a tenuto placed on the e and abl will help
bring out the embellishment of motive 1a; the same technique can be used in the next
measure, with a small amount of rubato on the f2 ushering in the cadential extension.

The end of this phrase elides with the next on the downbeat of m.25. Although
Brahms has written a quarter rest between the gbl in the clarinet in m.24 and its resolution
to fl in m.25, the student must interpret the phrase correctly by shaping the gbl to lead into
the f'. At m.25, the piano has the main theme while the clarinet interjects imitative
fragments of the piano’s material. During passages such as this one in which the piano
has the melody, the student must be aware of the phrasing in order to interpret the
arpeggiations properly. For example, the clarinet’s first fragment at m.26 imitates the top
line of the piano of m.25, and the subsequent clarinet line (mm.28-30) imitates the triplet
figures of the piano accompaniment of mm.25 and 27. The clarinet imitation stops during
the middle of the piano phrase, and this gesture in m.30 should be performed so that it
doesn’t sound final; placing a lift on the f2 will help the student avoid an inappropriate
accent on the note, which has a tendency to be bright compared to the lower notes of the
arpeggio.

In the transition, the clarinet’s tone should be lighter and less dramatic than in the
previous section due to the mood change brought on by the modulation to Db major, and

in order for the introduction theme to be heard in the piano in mm.46-48, which is

40

marked dolce. During mm.43-45, the student can use rubato from the d[)2 to the f2 and
back, emphasizing the hemiola and the seventh and ninth of the applied dominant
harmony. Since the piano has this figure a third below the clarinet, the ensemble needs to
be carefully aligned for a flawless performance.

To connect the last bar of the transition with the second theme group, the
clarinetist should not take a breath between mm.52 and 53. Brahms has written a
decelerando into the music with the hemiola, and an additional pause or break would
interrupt the line. The darkest tone color of the chalumeau register should be used to
bring out the mysteriousness of this passage as well as the modulation to c minor. In both
the piano and clarinet parts, placing a lift on the third eighth of the rhythm J77 9M will
delineate the syncopated rhythm correctly. If the eighth note is played too long, the effect
of this contrasting rhythm to the first theme and transition will be greatly reduced. At the
sustained notes in the clarinet in mm.61, 63, and 65, back off slightly after the initial
attack and build intensity into each set of arpeggiations. (The rhythm of the block chords
in the piano keeps the pulse steady during these measures.) The canonic entrances at
mm.68-72 should be played as one continuous line, not broken up into two groups of five
quarter notes. The following phrase can be executed in a similar way, but emphasis in the
clarinet due to the octave transposition in m.74 needs to be avoided. In the closing
phrases of the exposition, the clarinet’s placement of tenuto, combined with a small
rubato on the first note of the runs in mm.79, 83, and 86, will help contribute to the
romantic style of Brahms’s writing by articulating the note groupings and hemiola.

In mm.90-112 of the development, the double neighbor figure of motive 1b is

imitated between the clarinet and piano, along with a complete imitation of motive 1 in

4l

mm.96-100. Measures 94-95, written at a softer dynamic, echo mm.92-93; relaxing the
tempo in the clarinet on the third beat of m.95 signals the end of the echo passage. In the
following four measures, the dark sound of the lower register in the clarinet as well as the
espressivo marking in both instrumental lines contrast to the serene beginning of the
development. At m.99, the clarinet can take rubato into the downbeat ofm. 100, where
the piece modulates to E major. Measures 100-115 should be played simply, remaining at
a soft dynamic. The character of the piece changes at m.116, brought on by the new
texture, the forte dynamic marking, the modulation to c# minor, and the syncopated
rhythm. It is important to emphasize to the student that by playing mm.100-115 as softly
and dolce (as marked in the score) as possible, the greater mm.l 16-132 will contrast in
character. During the climax of the development (mm.119-120), the sixteenth- to-
quarter-note rhythm in the clarinet should line up carefully with the material in the piano;
the most dramatic clarinet playing of the development should be saved for the end of this
section, mm.129-131.

The performance suggestions for the opening of the exposition can be applied to
the first phrase of the recapitulation. Beginning at m.146, the new material in the clarinet
is difficult to execute due to the descending intervals. The melody is contained in the
upper note of each interval beginning at m.147, and the student could be advised to
practice the melody without the pedal tones. After the shaping of the melody has been
learned, the lower notes can be added.

Measures 168-182 do not require any new performance considerations. During
the rhythmic climax of the recapitulation, in mm.183-186, the cross-rhythms that occur

are difficult to align. By concentrating on the phrasing and direction of the melody rather

42
than the syncopated rhythm, the chance of these measures lining up accurately is greatly

increased.

The coda begins with a slow, pulsating accompaniment in the piano and a
variation of the main theme in the chalumeau register, the dark color of which should be
brought out. The second half of this phrase, mm.210-213, features a dialogue between
the triplet figures in the piano and clarinet. During mm.210 and 212, the dotted half note
in the clarinet can be shaped by a crescendo-decrescendo motion to avoid a flat-sounding
tone. After the forte-piano dynamic of m.214, that measure and the next should remain
quiet and mysterious. The imitation of the triplet figure continues, and a slight rubato can
be taken from the abl in m.218 to the f1 at the elision of the phrases on the next downbeat.
As the triplets become more frequent during the subsequent bars the motion can drive
forward, retuming to the original tempo at the eighth notes in m.224. The introductory
material that returns in the piano at mm.227-228 is very solemn; the clarinet provides a
contrasting statement to the piano in mm.23 1-236 due to the higher register. A sweet
tone color should be brought out in this phrase as it leads to its conclusion on the major

tonic harmony.

PEDAGOGICAL TECHNIQUES

Before a student begins to approach the Brahms Sonata in f minor, the professor
should stress the importance of the collaboration between clarinetist and pianist that such
a piece requires. Ofien clarinet students view the piano part as secondary to their own

material, so the professor must insist that this work be approached as the chamber music

43

that it is. Playing the Brahms Sonata can be compared to performing in a woodwind
quintet, a clarinet quartet, or even the woodwind section of an orchestra. Any analogy
that will draw a connection for the student will help tremendously when he or she begins
working with the pianist. The score should be consulted regularly during lessons in order
for the student to understand how the clarinet part relates to the piano part, and to
comprehend the reasoning behind the performance suggestions given by the professor.

Some preliminary listening assignments may include the Cello Sonata, Op.99, the
Piano Quintet, Op.34, or the Piano Sonata, Op.5. Michael Musgrave compares Brahms’s
“passionate rhetorical expression and formal adventure” in these works and the Sonata in
f minor for clarinet.42 In the studio class or private lesson, a discussion of the similarities
between these works, highlighting the main points, would give the student a broader view
of Brahrns’s style. This would be followed by a listening assignment of different
performances of the Clarinet Sonata in f minor, along with an analysis of the large-scale
form of the piece. An advantage for the clarinet professor is that by the time most
students are accomplished enough in their playing to learn this piece, sonata form will
have been taught in their music theory course.

The performance suggestions discussed in the previous section can be
incorporated into each lesson as the student learns the piece. As with the Mozart
Concerto, a worksheet could be given to facilitate independent thinking on the part of the
student; Appendix B serves as an example. Again, this would be followed with
discussion during the lesson or studio class. Before the ensemble rehearsals and coaching

sessions begin, collaborative analysis and listening between the clarinetist and pianist

 

‘2 Musgrave, 252.

44

should be encouraged by the professor. In addition, the ensemble will be better
coordinated if the clarinetist is taught to cue, make eye contact, and discuss and rehearse
specific rubato sections.

Brahms’s Sonata in f minor, Op. 120, no.1 presents the clarinetist with a wide
variety of challenges. The chamber music aspects of this piece alone can be problematic
for students. By examining the form and how themes and motives interact between

clarinet and piano, the student will come much closer to a convincing musical

performance.

 

Chapter 4

FRANZ SCHUBERT: DER HIRT AUF DEM FELSEN, D.965

Franz Schubert’s last completed song, Der Hirt aufdem F elsen (“Shepherd on the
Rock”), was written in October 1828, only one month before his death.43 Set for soprano,
piano, and clarinet obbligato, it continues to be a significant composition for this
instrumental combination.44 Written at the request of the soprano Anna Milder-
Hauptrnan, it is uncertain whether Schubert set the entire text sent by her or a modified
version; nonetheless, the first four stanzas are from the poem “Der Berghirt” (“The
Shepherd”), and stanza seven, with a few words omitted, is from the second stanza of the
poem “Liebesgedanken,” both by Wilhelm Miiller. Stanzas five and six are presumed to
be written by Helmine von Chézy, an acquaintance of Schubert and Milder—Hauptrnann.45

Schubert’s lieder can be classified into four categories: the simple strophic song
form, in which each verse is set to the same music; the modified strophic song form,
exhibiting various alterations to strophic form; the through-composed or
durchkomponiert piece, a collection of various melodies and recitatives set to an often

unchanging accompaniment; and the “scena” type, containing separate episodes of

 

‘3 Stolba, 602.
4" Dave Rex Harman, “Poetic Sources and Historical Background for Schubert’s Der Hirt aufdem F elsen,”
Woodwind World:Brass and Percussion 17, no. 6 (1978): 10, 44. Other works for this combination include
Mozart’s “Part0” from La Clemenza di Tito and Louis Ludwig Spohr’s “Sechs Deutsche Lieder.”
45 -

Ibld.

45

46

different tempi and mood.46 Der Hirt aufdem Felsen is of the “scena” type, and is even
referred to as a “small cantata” by Whitton."7 In addition, The New Grove Dictionary of
Music and Musicians states that while the solo cantata as a form of chamber music did
not outlive the Baroque period, its influence can be seen in later works such as Der Hirt
aufdem F elsen by the distinct sections, aria-type melodies, and pastoral subject (which
was typical of both Renaissance and Baroque music).48

Several aspects of Schubert’s compositional style define his lieder. His ability to
write lyrical melodies that contribute to the literal and the emotional meaning of the text

revolutionized song. According to The New Grove Dictionary of Music and Musicians,

Fromm.» “new”

Schubert’s music often contains signature harmonic progressions and tonal
relationships.49 The most familiar are his passing from minor mode to major and, less
often, from major to minor; his use of the Neapolitan sixth and relationships based upon
it; and the frequent use of augmented sixth and diminished seventh harmonies. Schubert
often modulates by mediant relationship; he especially likes to pass, with little
preparation, into the key that lies a major third below the tonic, a characteristic that is
evident in Der Hirt aufdem F elsen.5 0 Lastly, Schubert’s lieder are known for their varied
piano accompaniments, many of which help depict the meaning of the text. In Der Hirt
aufdem F elsen, the piano plays a rare subordinate role; although different
accompanimental patterns are utilized, the role of the instrument in text painting is

limited.

 

’6 The New Grove Dictionary of Music and Musicians, 5th ed., s.v. “Schubert, Franz, 19: Songs.”

’7 Kenneth Whitton, Lieder: An Introduction to German Song, (New York: Julie MacRae Books, 1984), 48.
’8 The New Grove Dictionary of Music and Musicians, 5th ed., s.v. “Cantata: since 1800;” and Stolba, 296-
297.

49 The New Grove Dictionary of Music and Musicians, 5th ed., s.v. “Schubert, Franz, 19: Songs.”

47
ANALYSIS AND PERFORMANCE SUGGESTIONS

Unlike the chapters on the Mozart Concerto and the Brahms Sonata, I have
combined in this chapter the analysis and performance suggestions for the clarinetist into
one section. There are large sections of the piece during which the clarinet does not play,
and while the connections between the vocal line and the text are addressed in these
passages, the music is not analyzed in detail. The score used is from Neue Schubert-
Ausgabe IV, Lieder, band 14, teil b, published by Biirenreiter.51

The following translation of Der Hirt aufdem F elsen is from Harman’s article,

“Poetic Sources and Historical Background for Schubert’s ‘Der Hirt auf dem F elsen.”’5 2

Wenn auf dem hochesten Fels ich steh’, When on the highest crag I stand,

in’s tiefe Thal hemieder seh’ [I] look down on the valley far below
und singe, and sing,

Fern aus dem tiefen dunkeln Thal Far from the deep dark valley

schwingt sich empor der Widerhall, soars up the echo

der Kliifte. of the caverns.

Je weiter meine Stimrne dringt, The further my voice is flung,

je heller sie mir wiederklingt the clearer it returns to me

von unten. from below.

Mein Liebchen wohnt so weit von mir, My beloved lives so far from me,

drum sehn’ ich mich so heiss nach ihr so ardently I long to be with her,
hini'rber! o’er yonder!

In tiefem Gram verzehr’ ich mich, In deep grief I waste away,

mir ist die Freude hin, all joy is gone,

auf Erden mir die Hoffnung wich, on this earth all hope gives way,

ich hier so einsam bin. I am so lonely here.

So sehnend klang im Wald das Lied, So yeamingly my song sounds through the woods,
so sehnend klang es druch die Nacht, so yeamingly it sounds through the night,
die Herzen es zum Himmel zieht it draws our hearts heavenward

mit wunderbarer Macht. with wondrous might.

 

 

5° Stolba, 603; and The New Grove Dictionary of Music and Musicians, 5th ed., s.v. “Schubert, Franz, 19:

Songs.”
5 ' Franz Schubert, Neue Schubert-A usgabe IV, Lieder, band 14, teil b, (Berlin: Biirenreiter, 1964), 219-243.
’2 Harman, 44.

48

Der Friihling will kornrnem, (The) Spring will come,
der Friihling meine Freud’, spring my joy,

nun mach’ ich mich fertig, now I get ready,

zum Wandem bereit. to wander once more.

The following chart outlines the form of the piece.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

large section A
sub-section Introduction a b Transition a'
measures 1-38 38-63 63-81 81-95 95-119 1 19-127
g‘ V B b; l 1 WI Illti I 1 vi
key areas g: 1
measures 1-6 17 64-77 I 78-87 I 88-95 127
. . (Clarinet! . .
text (CIannet/Prano) Stanzas 1 and 2 Stanzas 3 and 4 Piano) Stanzas 1 and 2 (Clannet/Piano)
large section B
sub-section c d e Closing section/cadenza
measures 127- 161 161-183 183-206 207-218
1 bll a: 1
key areas G: 11 chromatic v 7 1 [V] v 1 1 B": y7
measures 12744811494541 155-168 I 169-182 183-1891 190-206 207-209 1209—218
text Stanza 5 Simmbé 12m“ ' Stanza 6, lines 3 and 4 (Clarinet/Piano)
large section C
sub-section Introduction 1' g Transition 1" Coda
measures 219-226 226-262 263-288 288-290 291-314 314-339 339-349
key areas I I II III III# I I I
(CIarinet/ Stanza 3, lines . Stanza 3. lines (CIan'net/
text Piano) Stanza 7 1 and 2 Stanza 7,11ne l 1 Stanza 7 l and 2 Piano)

 

 

 

 

 

 

 

 

Figure 9- Form of Der Hirt aufdem Felsen, D. 965

The piece begins with a six-measure piano introduction that introduces the triplet
rhythm featured in the accompaniment of the A section. The dominant chord of g minor

is emphasized, which lies a major third above the key of Bb major that follows, one of the

49

signature harmonic relationships mentioned earlier. In addition, the emphasis on D major
foreshadows the g minor section that occurs at mm.127-148. The clarinet enters at m.6
on the common tone of the D and Bb triads, (11, marked with a fermata and
crescendo/decrescendo gesture resembling an echo, which foreshadows the word
“Widerhall” (“echo”) in the second stanza of the text. The dynamic in the clarinet after
the fermata is a soloistic piano; during the introduction (mm.6-3 8) the clarinet has the
melody the entire time and the piano is in a low register, so there is no concern for
balance problems between the two instruments. This provides the professor with an
excellent opportunity to discuss relative dynamics: for example, how a piano or forte
dynamic marking has different meanings in wind ensemble, a chamber group, or during
an unaccompanied performance.

The first phrase in the clarinet, in Bb major, is ten measures (plus the anacrusis) in
length, with an intermediate goal at the V7 harmony of m.10. The legato melody plus the
sudden change to a major key require a sweet tone color in the clarinet, a contrast to the
dark mood of the opening bars. Students may find it difficult to play the melody of the A
section with a smooth legato because of the leaps in the melodic line. During mm.7-10,
the triplet rhythm on beat three of each measure propels the line forward to the
intermediate goal; maintaining breath support and building intensity through the triplets
will result in the correct phrasing. At m.10, the c2 dotted quarter note should be tapered
slightly and no breath should follow, allowing the last three eighth notes of the bar (which
are now duple rhythm rather than triplets) to lead into the next part of the phrase.

At ml] (and later at m.13), the cb3 has a tendency to be emphasized due to the

altissimo register and sixteenth-note rhythm. The function of the cb3 is that of an upper

50

neighbor to bbz, determined by analyzing the melodic line as well as the harmony of
mm] 1-14. Since the cb3 clearly decorates the bbz, the student must realize that it is not an
important note of the phrase fragment and as a result should not be emphasized. The
clarinet ends the first phrase at the half cadence of m. 1 6, which is followed by a cadential
extension in the piano until m. 19, where it elides with the beginning of the next phrase.
During this fourteen-measure phrase (from the anacrusis of m.19 to m.32), the
first four bars are identical to mm.7-10. Dynamic and rhythmic intensity are decreased in
mm.23-25, preparing the crescendo in m.26 and the increasing rhythmic motion in m.27.
The chromatically ascending bass from the V7 harmony in m.22 to the I harmony in m.32
results in the tonicization of a minor in mm.27-29, a key area that will return in the B
section of the work. The dynamics of mm.26-27 help lead to the accented downbeat in
the clarinet at m.28; preceded and followed by legato gestures, it should be played
according to the lyrical style of the piece thus far, executed as a breath accent rather than
an articulated accent. The e2 will still be articulated, but the image of placing weight on
this note, rather than striking it with both the breath and the tongue, provides a mental
picture for the student to understand the type of accent required. Without this accent, the
tendency would be to emphasize the f2 in m.28, since it is the highest note of the phrase
and longer in duration than the preceding and following notes; however, that pitch
functions as an incomplete neighbor to the e2 and, as a dissonant tone of the diminished
seventh harmony, it need not be emphasized. Here the professor has an additional
opportunity to discuss a more general issue: the differing styles of accents, and which are
appropriate to the genre, composer, mood, and dynamic of a piece (for example, this

Schubert lied in comparison to the Brahms Sonata or the Mozart Concerto). After the e2

 

51
of m.28, the melody descends, rounding off at the c2 of m.29. The student should be

advised to avoid a breath between the c2 and e2 in m.29 in order to continue the phrase to

the climax on the downbeat of m.3] and, ultimately, to the goal of the phrase on the
second beat of m.32.

In m.36 of the six-bar closing phrase (from the anacrusis of m.33 to m.38), the
dynamic marking should not be taken too literally. Begin to build intensity on the g',
gradually increase the dynamic to the f2, then decrescendo to the bbl (the goal of the
phrase). If the crescendo begins too late in the line, it will sound abrupt. In addition, a
slight rubato may be taken on beat three of m.36, preparing the final cadence of the
introduction.

The text of the A section (m.38-119) is constructed in modified strophic form:
stanzas one and two are repeated during mm.95-l 19, set to a variation of the initial
melody and accompaniment from mm.38-60. The clarinet line is subordinate to the
voice, with the exception of the closing section; the main purpose of the clarinet is to

imitate portions of the melody. A general performance issue that needs to be addressed

during the entire piece is that when the clarinet imitates the vocal line, it should match the

vocalist’s style in every possible way. Harman states that Schubert’s choice of the

clarinet for the instrument of the obbligato line is partly due to its capability of producing

a vocal legato.53

Measures 38-48 of the a subsection begin with the melody of mm.6-10 in the

vocal line and the same accompaniment in the piano. The clarinet imitates this line down

a step at a pianissimo dynamic in mm.44-46, another foreshadowing of “Widerhall.” At

 

’3 lbid.

“5|" v—n‘t'fl"
. up

 

52

m.48, the clarinet begins an imitation of the voice in canon, and the piano enters an

ei th-note later, on the downbeat of m.49, to provide support at the lower third for the
clarinet line. Again, the accents in the clarinet are of the breath rather than the articulated
type. Measures 47-50 exemplify word painting: the text “und singe” (“and sing”) and its
imitation in the instrumental lines are set in a style similar to a yodel.

The vocalist’s next phrase (mm.51-60) also begins with the melody and
accompaniment of mm.6-10. Word painting is evident in mm.51-56, beginning with the
text “Fern aus dem tiefen dunkeln Thal” (“Far from the deep dark valley”), set to a
dramatically descending and rising line sung at a soft dynamic. The following line,
“schwingt sich empor der Widerhall” (“soars up the echo”), suddenly changes to a forte
dynamic, and the melodic figure on beat one of m.56 symbolizes the echo rising up from
the valley. When the clarinet enters at m.57, a brighter tone color and the mezzo-forte
dynamic provide contrast to the piano dynamic of mm.51-54 as it echoes, in variation, the
“Widerhall” of m.56. After the vocalist sings “der Widerhall der Kliifte” (”the echo of
the caverns,” derived from “und singe”) in mm.59-61, the clarinet and piano enter with
similar figures, now in dotted rhythms, to imitate the final gestures of the voice.

The b subsection begins with a sudden modulation to Gb major, a major third
below the tonic and another example of Schubert’s characteristic use of mediant
relationships. This modulation to a remote key paints the text, “The further my voice is
flung,” and the brighter color of the new key, coupled with the forte dynamic, depicts “the
clearer it returns to me.” The texture has changed during these measures, brought on by
the new accompanimental pattern in the piano, as has the rhythmic character of the voice.

In mm.67-69, the accompaniment retums to the sustained bass and triplet rhythm of the a

 

53

subsection, the melody decreases to a piano dynamic, and the clarinet imitates the voice
in canon for both statements of “von unten” (from below), painting the text with
descending leaps to dbl. Again, the clarinetist should use a breath accent in mm.68 and
69, which helps to articulate the 3-against-2 rhythm between the piano and clarinet and
also brings out the resolution of the clarinet’s dissonant ebz. Similar accents are to be
employed when the clarinet returns to imitate the voice in mm.74-75. F
At m.78, at the text “je heller sie mir wiederklingt,” the phrase modulates to the

key of D major, an enharmonic third relationship to the preceding key. The dynamic

 

decreases to piano, and the accompanimental pattern of the introduction returns at m.80. .
As the vocalist ends her phrase, the clarinet begins the transition that connects the b and
al subsections. Measures 81-85 function as closing material to the b subsection, followed
by a two-measure extension into m.88. The color should be sweet and somewhat dark in
the clarinet during these bars, taking care to follow the dynamic markings. The repeated
(II in the clarinet in m.87, however, may increase in intensity, and rubato may be taken
from the end of the bar into the downbeat of m.88. As at the outset of the piece, the d2
common tone effects the unprepared modulation from D major to Bb major. At this point
the clarinet should decrease the dynamic, in order to prepare for the crescendo of m.89,
after which melodic material from the end of the introduction is restated. At mm.92-94
the performance suggestions of mm.35-37 may be applied.

During mm.95-107 of the a1 subsection, the clarinet echoes the vocalist as it did
during mm.38-50. Measure 114, however, contains a new imitation; here, the clarinet
and piano imitate exactly the vocalist’s melodic figure of ml 13, then quickly decrease in

dynamic. The clarinetist should return to a sweet tone color after this decrescendo, and

54

continue to diminish in volume to m.117, setting the tone for the repetition of the text,
“der Widerhall der Kliifie.” The closing material in mm.123-127 modulates to g minor,
the key that was implied at the outset of the piece, by moving through the Neapolitan
sixth chord in mm.123-124.

Compared to the A and C sections, the role of the clarinet line is the least
significant during the B section, with the exception of the closing material from mm.207-
218. The mood is very different from the A section due to the text of stanza five, which
expresses sorrow, loss of hope, and loneliness by means of a sustained and stepwise vocal
line, minor mode, and static piano accompaniment. When the clarinet enters at m.139,
connecting lines two and three of the stanza, the color should be brighter because of the
Neapolitan sixth chord, which contrasts with the minor harmony of the vocal phrase.
Also in m.139, the abl in the clarinet may require a more emphasized accent because of
the overlap with the abl in the voice and the poor projection of the clarinet’s throat tone
register. The last three eighth notes in the clarinet in m.140 can decrease in volume and
change to a darker color, returning to the mood of the beginning of this section and
allowing the eliding entrance of the voice to be heard.

In mm. 161-164, the beginning of the d subsection, the clarinet foreshadows the
sustained melody that follows in the vocal line. The tonality of this passage is somewhat
ambiguous as the bass and lower inner voice of the piano move chromatically from the
key of a minor to the dominant seventh harmony of g minor in mm.169-172; a similar
chromatic motion links [V6/5] in m.173 with root-position [V] in m.178, which is then
extended to the imperfect authentic cadence in m.183. The climax of the vocal line in

m.169, and likewise in m. l 77, is emphasized by the crescendo leading to the forte-piano

55

marking. The clarinet, imitating this melodic fragment in mm.171-173 and again in
mm.179-182, should diminuendo slightly from an accented piano dynamic, avoiding a
balance problem with the overlapping entrance of the voice.

The piece abruptly shifts to the key of G major at the start of the e subsection in
m.183, another mediant relationship to the original key of Bb major. During this passage
the vocalist sings the last two verses of stanza six without imitation by the clarinet,
finishing her last phrase at m.206. At m.207, the start of the closing section, there is a
sudden change to g minor, requiring the clarinet to begin with a darker tone color. As
the phrase ascends to the climax and descends, it is ultimately supported by the V7 of the
original key, which is then expanded with the cadenza. A breath should not follow the f2
of m.216, for it would cause an unnecessary break in the phrase. The closing section
provides a gradual change in mood from despair to hope, an effective transition into the
next section which discusses the coming of a joyous spring.

The C section begins in m.219 with an eight-measure introduction in the clarinet.
The simple piano accompaniment and the rhythm of the melody establish the playful
mood of this section, but the dynamic is still piano and the clarinet line should be played
lightly. In m.224 in the clarinet, each note of the bar should have the same color,
avoiding extra emphasis on the d3.

After an introduction by the clarinet and piano that previews the upcoming
melody, the f subsection starts at the vocal entrance in m.226. The joyful text of the
seventh stanza is completed by the end of the phrase at m.234, after which the clarinet
repeats the introductory material of mm.219-222. The vocalist completes the phrase

begun by the clarinet in mm.238-242, forming a sixteen-measure parallel period. During

56

mm.242-250, the clarinet imitates the vocal line at two-measure intervals as it evolves
into a more significant part of the texture. In the final vocal phrase of this subsection
(mm.250—258), the piano accompaniment is taken from mm.226-234 with an altered
cadence, whereas the text setting (once again the entire stanza) is that of mm.226-230
combined with the setting of mm.238-242. In mm.252 and 254, the clarinet imitates the
vocal line in varied fashion at a contracted, one-measure interval, overlapping with the
voice and contributing to the increasing excitement and intensity of this passage. Legato
markings for the clarinet are not indicated in the Barenreiter score; however, in order to
imitate the voice stylistically, these measures should be slurred.

Measures 258-262, where a statement of the melodic material from mm.223-226
appears in the piano, function as a link to the g subsection. Schubert modulates abruptly
into D major in m.263, remaining in this key until m.29]. The text from stanza three,
minus the words “von unten,” is set in mm.263-288. The accompaniment at the
beginning of this section imitates the dotted eighth and sixteenth rhythm of the vocal line,
which is borrowed from the previous statements of this text during the A section. Also as
before, the modulation to a remote key depicts “The further my voice is flung,” and the
brighter color of the new key and forte dynamic (the first forte of the C section) portray
“the clearer it returns to me.”

At m.265 the clarinet imitates the vocal line at the lower third, doubling at the
octave one of the lines of the piano accompaniment. The student must be reminded that
the accents in the clarinet during this phrase should not overpower the accents in the
vocal line. Beginning in m.267, the piano returns to the accompaniment of the f

subsection and the clarinet line imitates one-measure fragments of the vocal line at m.268

 

57

and m.270; these fragments must decrease in volume to avoid overbalancing each new
vocal entrance.

At mm.275-284 the material from mm.262-272 is repeated; however, the clarinet
has the first statement of the melody and the vocal line imitates it in the following
measure. The clarinetist should take care to follow the mezzo-forte marking at m.27 5 in
order to build to the climax of the line at m.279. The cadence at mm.285-288 includes
new cadential material in the vocal line, accompanied by an imitation of m.283 in the
clarinet that leads to the climax of that line in m.286.

In the transition from mm.288-290 each word of the text is set to d2, the common
tone of the D and Bb triads, relating back to the same pitches in the clarinet in mm.6 and
86-87. This transition decreases the dynamic to pianissimo, setting the mood for the fl
subsection that follows. Measures 234-242 of the earlier f subsection are omitted from
this passage, compressing it by eight bars. No new material is stated, so the performance
issues discussed previously may be applied. In addition, the piano interlude of mm.259-
262 is omitted, eliding the fl subsection with the beginning of the coda at m.3 14.

In the opening of the pi ti mosso, the vocal line is now “flung” in virtuostic runs of
scalar sixteenth-note fragments that repeat the first two verses of stanza three. The
clarinet enters by imitating the voice at the distance of a measure in mm.3 l6 and 318. At
m.319 the clarinet accompanies the voice a third above its line but continues to its highest
pitch of the piece, em, as the voice descends from its high bbz. The vocal line and piano
accompaniment of mm.3 14-322 are restated, with a varied cadence, in mm.322-330,
creating the second of the two sixteen-measure parallel periods found in this work.

During mm.324 and 326 the clarinet complements the rising melody with descending

58
scales, followed by parallel thirds with the vocal line in mm.327-329. According to the

Biirenreiter score, Schubert did not include legato slurs above these sixteenth-note runs in
the clarinet; however, they should be slurred in order to resemble the melismatic writing
of the vocal line, as mentioned previously in regard to mm.256 and 285.

Momentum continues to build into the vocalist’s closing phrase with the return of
the dotted eighth and sixteenth rhythm, complemented by the rhythm in the clarinet line
and increased harmonic rhythm in the piano. This phrase leads to the climax in mm.335-
337, where the harmonic and rhythmic intensity increases even firrther with the
appearance of the applied diminished seventh chord. In mm.337-338, the clarinet line
rapidly descends through the cadential V harmony to the perfect authentic cadence,
eliding with the closing phrase in m.339; the clarinetist may want to add the articulation
slur-two, tongue-two to keep the line from sounding like a routine exercise.

The final measures of the piece may be played using the same articulation. These
measures have a tendency to accelerate to the end, due to the rapid harmonic rhythm in
the piano and the rising, sequential line of the clarinet. The clarinetist should use the
syllable “tab” on the first sixteenth-note of each group of four to perform the rhythm
evenly. Another suggestion is to practice playing only the notes on beats one and two of
mm.339-344 for steady rhythm and also to get a better sense of the direction of the line
toward its climax. To finish this phrase, m.344 should decrease in dynamic into the
downbeat of m.345, followed by a dramatic crescendo to the top of the ascending scale

and into the final cadence.

59
PEDAGOGICAL TECHNIQUES

The first assignment for the student would be to read the article “Schubert, Franz,
19: Songs” from The New Grove Dictionary of Music and Musicians, in which the
various categories and common characteristics of Schubert’s songs are explained. This
reading would be followed by listening assignments that would include Aufdem Strom,
D. 943, in which Schubert uses the French horn for the obbligato line, and the “scena”
pieces Der Wanderer, D489 and Kriegers Ahnung, D. 95 7.54 These reading and listening
exercises would give the student a foundation for determining how Der Hirt aufdem
F elsen fits into the vast body of lieder written by Schubert.

Before assigning the student to listen to and analyze Der Hirt aufdem F elsen, be
sure an adequate translation is available. After the professor has corrected the student’s
analysis of the large form and main key areas, the form could be discussed in greater
detail during the lesson. The connection of the performance issues mentioned earlier to
the analysis would be applied in subsequent lessons as the student learns the piece. A
worksheet could be used, as shown in the previous chapters, to facilitate independent and
critical thinking by the student. The example worksheet in Appendix C tests concepts
from the reading and asks directed questions regarding performance choices.

Covering the analysis during the studio class is an alternative to using lesson time.
The clarinet professor might collaborate with the voice professor and plan a combined
studio class. Another option would be to invite a theory professor to present the analysis,

especially if his or her primary research area is Schubert studies.

 

5" The New Grove Dictionary of Music and Musicians, 5th ed., s.v. “Schubert, Franz, 19: Songs.”

60

Learning a chamber piece such as Der Hirt aufdem F elsen creates new challenges
for the clarinet student that are not encountered when preparing solo pieces or sonatas
with piano. The student must be aware that the function of the clarinet line depends
primarily upon the vocal line, and with the exception of a few passages, the clarinet is
subordinate to the voice. The student must be concerned with issues of balance, and must
imitate the vocalist’s style and phrasing as much as possible. The sensitive approach to
playing that is learned when preparing Der Hirt aufdem F elsen is advantageous, for it

can be applied with good results to other chamber and ensemble playing.

By combining music theory with aspects of performance and pedagogy, I have
shown in this thesis that music analysis can be used effectively in the clarinet private
lesson and studio class. The clarinet professor will find that the methods presented for
the first movement of Mozart’s Clarinet Concerto, the first movement of Brahms’s
Sonata in f minor, and Schubert’s Der Hirt aufdem F elsen are also applicable, with
modifications when necessary, to other types of repertoire, such as the various genres of
chamber music, unaccompanied works, and even orchestral excerpts. The result of this
approach will produce clarinetists with strong analytical and musical skills who will excel

in their ability to teach others.

APPENDICES

APPENDIX A

APPENDIX A

 

 

Analysis for Performance, Assignment #1
Piece: Mozart Clarinet Concerto, K622
Section: Solo Exposition--Main Theme

After listening to a recording of the concerto, please answer the following questions:

1.

2.

What is the goal note of the first phrase of the solo exposition?
What note is the intermediate goal of the phrase, dividing it into two parts?
With this intermediate goal in mind, how do you think measure two should be

executed in relationship to measure three? What types of nuances could be applied
in order to keep the direction of the phrase moving forward?

What measure of this phrase contains a syncopation?

 

In the clarinet, what is the concert pitch of the syncopated note?
What member of the harmony is this note and what is its tendency of
resolution?
In what way could this tendency tone be emphasized during performance?

How do mm.65-68 relate to the first phrase? (hint-examine the orchestra parts)

Based on your findings, how would you phrase the clarinet’s
obbligato line?

What term is used to describe what happens in m.72, when one phrase ends as the

next begins?
Explain the harmony that occurs at m.72 and where it leads, and discuss
possibilities of dynamic in this measure.

 

 

61

 

APPENDIX B

 

APPENDIX B

 

 

Analysis for Performance, Assignment #2
Piece: Brahms Sonata in f minor, Op. 120, no.1, mvt. 1
Topic: Exposition: Main Theme Group and Transition

After listening to a recording and completing an analysis of the large-scale form of the
first movement, please answer the following questions:

1.

During the first phrase of the main theme in the clarinet (mm.5-12), where does the
intermediate goal occur? How can the wide ascending intervals
during this phrase be shaped (especially mm.8-12) in order to maintain the
direction of the phrase to the goal of m.12?

 

Study the next phrase from mm.12-25 carefully. This phrase can be divided into
_ parts, specifically the and the . In what ways is the
clarinet line similar between mm.13-15 and mm.17-19?

 

Discuss a possible way to bring out this relationship when playing this line.

During mm.25-32, which instrumental line has the main theme?
What is the function of the clarinet during these measures? (In other words,
describe how the clarinet material relates to that in the piano.)

After making these observations, would you consider the clarinet line primary or
secondary to the piano?

What issues need to be addressed regarding the balance between the instruments
during this phrase? Regarding the phrasing?

The exposition begins in the key of f minor. At m.38, the start of the transition,
what key has the piece modulated to? Point out any foreshadowing of this
key that occurs in the first 37 measures.

The mood changes significantly at the transition. What factors contribute to this
change of mood?

 

62

 

APPENDIX C

APPENDIX C

 

 

Analysis for Performance, Assignment #3
Piece: Schubert, Der Hirt aufdem F elsen, D965
Topics: Grove article, large form, and introduction (mm.1-3 8)

After listening to a recording of the work, please answer the following questions:

1.

According to the article “Schubert, Franz, 19:Songs” in The New Grove Dictionary of
Music and Musicians, what are the four main categories of Schubert’s songs?

Which category does Der Hirt aufdem F elsen belong to?
This piece is divided into large sections.

What are the most familiar characteristic of Schubert’s harmony?
What harmony does the piano introduction (mm.1-6) emphasize?

What key does it change to at the downbeat of m.7?
By comparing the key and character of the music in mm.7-38 with that in mm.1-6,
how do these two sections differ? What type of tone color should the clarinetist use?
The first phrase in the clarinet is how many measures long?

The phrase divides into two parts: mm. - and mm. -

With what type of cadence does the phrase end? (circle one)
PAC IAC Half Deceptive Plagal

Therefore, how should the end of this phrase be played, especially when
examining the dynamic marking at m.14?

In what ways is the next phrase similar to the first phrase in the clarinet and piano
parts?

During mm.18-30, where are the best places to take a breath without disrupting the
phrase or direction of the line? (Remember: it is not always best to take a breath right
after an intermediate goal. Ask yourself the question, “Will a breath here cause an
inappropriate break in the melody?”)

 

63

 

BIBLIOGRAPHY

BIBLIOGRAPHY

Barra, Donald. The Dynamic Performance. Englewood Cliffs: Prentice-Hall, 1982.

Berry, Wallace. “Formal Process and Performance in the Eroica Introductions.” Music
Theory Spectrum 10 (1988): 3-18.

. Musical Structure and Musical Performance. New Haven: Yale University
Press, 1989. Reviewed by John Rink in Music Analysis 9, no.3 (1990): 319-39.

. Structural Functions in Music. Englewood Cliffs: Prentice-Hall, 1976.

Boretz, Benjamin and Cone, Edward T., eds. Perspectives on Notation and Performance.
New York: W.W. Norton and Co., 1976.

Brahms, Johannes. Sonatenfrfi' Klavier und Klarinette oder Viola, Opus 120. Miinchen:
G. Henle Verlag, 1974.

Burkhart, Charles. “Schenker’s Theory of Levels and Musical Performance.” Aspects of
Schenkerian Theory, ed. David Beach. New Haven: Yale University Press (1983):
95-112.

. “Mid-bar Downbeat in Bach’s Keyboard Works.” Journal of Music Theory
Pedagogy 8 (1994): 3-26.

Cone, Edward T. Musical F arm and Musical Performance. New York: W.W. Norton and
Company, 1968. Reviewed by Wallace Berry, Perspectives of New Music 9, no. 2
and 10, no.1 (1971): 271-290.

. “Musical Form and Music Performance Reconsidered.” Music Theory
Spectrum 7 (1985): 149-158.

Dunsby, Jonathan. “Guest Editorial: Performance and Analysis of Music.” Music
’ Analysis 8, no. 1-2 (1989): 5-20.

Folio, Cynthia. “Analysis and Performance of the Flute Sonatas of J .S. Bach: A Sample
Lesson Plan.” Journal of Music Theory Pedagogr 5, no. 2 (1991): 133-159.

64

 

65

F orrnan, Denis. Mozart’s Concerto Form. London: Rupert Hart-Davis, 1971.

Gibson, Lee. “The Clarinet Concerto: What Did Mozart Write?” Clarinet 2, no. 2 (1975):
14-17.

Graybill, Roger. “Brahms’ Integration of Traditional and Progressive Tendencies: A Look
at Three Sonata Expositions.” Journal of Musicological Research 8 (1988): 141-
168.

Harman, Dave Rex. “Poetic Sources and Historical Background for Schubert’s “Der Hirt
auf dem Felsen.” Woodwind World: Brass and Percussion 7, no. 6 (1978): 10.

Kraehenbuhl, David. “On the Nature and Value of Theoretical Training: A Forum.”
Journal of Music Theory 3 (1959): 31-69.

LaRue, Jan. “Style Analysis for Performers--An Initial Report.” College Music
Symposium 19, no. 2 (1979): 107-110.

Larson, Steve. “On Analysis and Performance: The Contribution of Durational Reduction
to the Performance of J .S. Bach’s Two-Part Invention in C Major.” In Theory
Only 7/1 (1983): 31-45.

Lawson, Colin. Mozart Clarinet Concerto. Cambridge: Cambridge University Press,
1996.

Leinsdorf, Erich. The Composer ’s Advocate: A Radical Orthodoxy for Musicians. New
Haven: Yale University Press, 1981.

Lester, Joel. The Rhythms of Tonal Music. Carbondale: Southern Illinois University Press,
1986.

Levy, Edward. “Analysis Applied to Performance.” College Music Symposium 19, no. 1
(1979): 128-138.

Marvin, Elizabeth W. “Integrating Music Theory Instruction into Studio Teaching.” The
College Music Society Newsletter (November 1991): 1-2.

. “Intrinsic Motivation: The Relation of Analysis to Performance in
Undergraduate Music Theory Instruction ” Journal of Music Theory Pedagogy 8
(1994): 47-57.

Matthay, Tobias. Musical Interpretation. Boston: Boston Music Co., 1913.

66

Meyer, Leonard B. Emotion and Meaning in Music. Chicago: University of Chicago
Press, 1956.

. Explaining Music. Berkeley: University of California Press, 1973.

Miller, Mina F. “The Solo Piano Music of Carl Nielsen: An Analysis for Performance.”
Ph.D. dissertation, New York University, 1978.

Mozart, W.A. Neue Mozart-Ausgabe, Ser 5, erg 14, Bd 4. Kassel: Barenreiter, 1977.
Musgrave, Michael. The Music of Brahms. Oxford: Clarendon Press, 1994.
Narmour, Eugene. “On the Relationship of Analytical Theory to Performance and
Interpretation.” In Explorations in Music, the Arts, and Ideas, ed. E. Narmour and
RA. Solie (Stuyvesant: Pendragon): 317-40.
Nygren, Dennis. “The Chamber Music of Berg.” Clarinet (Spring 1986): 26.
. “The Music for Accompanied Clarinet Solo of Claude Debussy: An
Historical and Analytical Study of Premiere Rhapsody and Petite Piece.” D.M.A.

dissertation, Northwestern University, 1982

Poulin, Pamela L. “The Basset Clarinet of Anton Stadler.” College Music Symposium 22,
no.2 (Fall 1982): 67-82.

Rink, John. “Conference Report: Music and Rhetoric: Style and Communication in
Western and Non-Westem Musics.” Music Analysis 8, no. 3 (1989): 359-364.

Rothstein, William. Phrase Rhythm in Tonal Music. New York: Schirrner Books, 1989.

Schachter, Carl. “Chopin’s Prelude in D Major, Op. 28, No. 5: Analysis and
Performance.” Journal of Music Theory Pedagogy 8 (1994): 27-45.

Salzer, Felix. Structural Hearing: Tonal Coherence in Music, Vols. 1 and 2. New York:
Charles Boni, 1952.

Schenker, Heinrich. “Organic Structure in Sonata F orm.” Trans. Orin Grossman,
Readings in Schenker Analysis and Other Approaches, ed. Maury Yeston. New
Haven: Yale University Press (1977): 38-53.

Schmalfeldt, Janet. “On the Relation of Analysis to Performance: Beethoven’s Bagatelles
Op. 126, Nos. 2 and 5.” Journal of Music Theory 29, no. 1 (1985): 1-31.

Schubert, Franz. Neue Schubert-Ausgabe IV, Lieder, band 14, teil b. Berlin: Barenreiter,
1964.

67

Stein, Erwin. F orm and Performance. New York: Alfred A. Knopf, 1962.

Stolba, K Marie. The Development of Western Music: A History. Dubuque: Wm. C.
Brown Publishers, 1990.

Thurmond, James Morgan. Note Grouping: A Method for Achieving Expression and Style
in Musical Performance. Camp Hill, PA: J MT Publications, 1982.

Whitton, Kenneth. Lieder: An Introduction to German Song. New York: Julie MacRae
Books, 1984.

Yeston, Maury. “Rubato and the Middleground.” Journal of Music Theory 19 (1975):
286-301.

 

IIIIII

iii

HHHHHHHH

ii iiiiiiii11111111111161

3129301

 

I
900