A Performer's Perspective on Three Standard Clarinet Repertoire

This recital document explores the various pieces performed for my Master's recital on February 19, 2018. Chapter one, "Brahms's Encore: A Look into the Cyclical Nature of the Clarinet Sonata Op. 120, No. 1, Movement 1 ," focuses on the intuitive music theory incorporated in the first movement. The opening movement utilizes traditional writing, while also incorporating blurred formal functions that provide an unclear formal structure. This is done through recurring motivic themes, harmonic progressions, and avoidance of strong openings and closures of the main sonata sections. All of these components reminiscence the beginning of the movement, giving it a more cyclical form.

The second chapter, "Solo de Concours: An Establishment of Tradition and Nationalistic Pride," provides a more historical and cultural background of Andre Messager's Solo de Concours. The creation of the Paris Conservatoire, the solo de concours contest, and events occurring at the time of Messager's work was completed influenced the way Solo de Concours was written. These events influenced Solo de Concours to encompasses the late Romantic style of "clinging of tradition" through the use of traditional French musical styles.

The final chapter, A Performer's Perspective on Eric Ewazen's Roaring Fork Quintet for Wind Instruments, focuses on the history and roles of the instruments within a woodwind quintet, as well as the compositional style and background of contemporary romantic composer, Eric Ewazen. Looking into the quintet's initial conception and potential issues of the quintet enable the reader to identify possible rehearsal issues one might face when preparing for a performance. Looking into Ewazen's composition, it is interesting to speculate his performance intentions, especially considering he is heavily a composer of brass instruments. All of these factors are important to contemplate in order to have a better performer's perception.