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An Analysis For Performance Of Selected Unaccompanied Works For Trumpet By Robert Henderson, Hans Werner Henze And Verne Reynolds, Brendan Mcglynn

Glenn Korff School of Music: Dissertations, Theses, and Student Creative Work, and Performance

Unaccompanied literature has been gaining a world-wide reputation and importance in the trumpet performance repertoire. This study examined how analysis of these pieces contributed not only to the knowledge of the performer, but to the performance itself. Three compositions were analyzed in this document: Variation Movements (1967) by Robert Henderson (b. 1948), Sonatina (1974) by Hans Werner Henze (b. 1926) and Calls and Echoes (unpublished) by Verne Reynolds (b. 1926).

These composers used a variety of compositional devices that were discussed in detail and showed how knowledge of these techniques benefited the performer. Variation Movements was derived from a nine-note …

Max Reger’S Telemann Variations, Op.134: Analysis And Critical Evaluation Of Editions, Including An Examination Of Reger’S Performance Style Based On Concert Reviews, Christian Peter Bohnenstengel

Glenn Korff School of Music: Dissertations, Theses, and Student Creative Work, and Performance

Max Reger’s music is not widely known and performed. His music is often thought of as dense, highly chromatic, and hard to digest. The Telemann Variations offer a different view of this highly prolific composer, who was regarded as the most important composer next to Richard Strauss in early twentieth-century Germany. The theme, a minuet in binary form, is taken from Telemann’s Tafelmusik in B-flat Major. The variations exhibit a transparent texture, regular phrases, and formal balance.

There is a fair amount of literature about the life and music of Reger, much of it written in German. However, the Telemann …

Visions Fugitives: Insights Into Prokofiev's Compositional Vision, Steven Edward Moellering

Glenn Korff School of Music: Dissertations, Theses, and Student Creative Work, and Performance

In his autobiographical notes, Sergei Prokofiev detailed “five lines” along which his early work had developed. This analysis concerned works composed until his graduation from the St. Petersburg Conservatoire in 1914. The five lines are termed: classical, modern, toccata, lyrical and grotesque. The analysis portion of this document will incorporate these five lines. Furthermore, I will concurrently analyze the Visions Fugitives using my own list of 10 characteristics as a foundation. The 10 characteristics are: (1) dissipating endings - or, endings that do not end emphatically, (2) sharp dynamic contrasts, (3) disjunct melody, (4) chromatic melody and free counterpoint, (5) …

Septets, Octets, Nonets: Romantic Chamber Music In Its Cultural Contexts, Andrew L. De Alvaré

Glenn Korff School of Music: Dissertations, Theses, and Student Creative Work, and Performance

In 1800, Ludwig van Beethoven wrote his Septet, Op. 20 for a chamber ensemble of strings and winds that included the double bass. This piece, an enormous popular success, became a direct compositional model for Franz Schubert in his Octet, D. 803. A great deal of scholarship exists connecting these two works, but does not extend to the many other chamber works of the Romantic period written for similar ensembles. To varying degrees, the compositions for large chamber ensembles written by Louis Spohr, Franz Lachner, Georges Onslow, Adolphe Blanc, and Louise Farrenc also take Beethoven’s Septet as a model. It …