A Selected Study of Symphonies Concertantes for Multiple Clarinet Soloists, 1770-1850, Including Works By Stamitz Devienne, Krommer, Tausch, Muller, Schindelmeisser and Baermann

The genre of symphonies concertantes is a significant component of the solo clarinet repertoire in the late eighteenth and early nineteenth centuries. These virtuosic works, written at a time when Mozart and von Weber were composing important solo concertos for the clarinet, have received little attention. Over fifty symphonieconcertantes for multiple clarinet soloists were composed from 1770-1850. From these fifty works, a number of representative works that span the scope of this study by Karl Stamitz (1745-1801), Francois Devienne (1759-1803), Franz Krommer (1759-1831), Franz Tausch (1762-1817), Iwan Muller (1786-1854), Louis Schindelmeisser (1811- 1864) and Carl Baermann (1810-1885) were chosen for thorough analysis. For each of these pieces, historical background is provided in addition to analysis of the instrumentation, form, complexity of harmony, range of the solo parts, technical proficiency required, and inter-workings of the solo parts. Comparing and contrastingthese works will provide a context to better understand how the genre evolved.This study endeavours to define the symphonie concertante genre and investigate its quick rise and fall from popularity. Late eighteenth century concert programs from Le Concert Spirituel in Paris were consulted to discern how concert life and programming changed in this time period when the symphonie concertante genre suddenly flourished.A comparison of these eight works composed between the years 1770-1850 divulges an 80-year growth of clarinet playing and the symphonie concertante genre. The instrumentation of the orchestra expands to include winds and there is interaction between soloists and orchestra in later works. The form of these works first expands inlength and complexity until about 1820. The later works tend to take on a more simple concertino- or concert piece-like form. The reverse is true of the harmony, which is very simplistic in the earlier works, and more complex in the works composed after 1820. In the later works, the clarinet solo parts have an increased range and melodies are no longer limited to the clarion register. These later pieces are more technically demanding and the communication between the solo voices is more intricate.

Name thesis:degree_name

Doctor of Musical Arts

Level thesis:degree_level

doctoral

Discipline thesis:degree_discipline

Music

Grantor dc:publisher

The Ohio State University

Year dc:date

2002

Author dc:creator

• Lehto, Gail S.

Contributors dc:contributor

• Pyne, James

• Music

Statement dc:rights

• unrestricted
• This thesis or dissertation is protected by copyright: all rights reserved. It may not be copied or redistributed beyond the terms of applicable copyright laws.

Language dc:language

English

Repository record dc:identifier

http://rave.ohiolink.edu/etdc/view?acc_num=osu1364227084

OAI identifier oai:identifier

oai:etd.ohiolink.edu:osu1364227084