Florida State University Librariesfsu.digital.flvc.org/islandora/object/fsu:507634/...Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate

Florida State University Libraries

Electronic Theses, Treatises and Dissertations The Graduate School

2017

A Study of Franz Schubert's ArpeggioneSonata and Claude Debussy's PremiéreRhapsodie: A Performer's PerspectiveJeffrey Michael Brooks

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FLORIDA STATE UNIVERSITY

COLLEGE OF MUSIC

A STUDY OF FRANZ SCHUBERT’S ARPEGGIONE SONATA AND CLAUDE DEBUSSY’S

PREMIÉRE RHAPSODIE: A PERFORMER’S PERSPECTIVE

By

JEFFREY MICHAEL BROOKS

A Treatise submitted to the

College of Music

in partial fulfillment of the

requirements for the degree of

Doctor of Music

2017

ii

Jeffrey Michael Brooks defended this treatise on April 10, 2017.

The members of the supervisory committee were:

Deborah Bish

Professor Directing Treatise

Richard Clary

University Representative

Eric Ohlsson

Committee Member

Jeffrey Keesecker

Committee Member

The Graduate School has verified and approved the above-named committee members, and

certifies that the treatise has been approved in accordance with university requirements.

iii

For Mom and Dad

iv

ACKNOWLEDGMENTS

There are many people to whom I owe thanks and gratitude over the past several years.

First of all, thank you to my advisor and mentor Dr. Deborah Bish. Your patience, confidence,

and persistence have helped me through many challenging times. Thank you for gently

encouraging me to keep going and for leading me through this academic process. Thank you to

my committee members, Dr. Eric Ohlsson, Jeffrey Keesecker, and Richard Clary, all of whom

have guided me both professionally and scholastically. Thank you to emeritus professor, Dr.

Frank Kowalsky, who taught me so much about music and the pursuit of intentional living. You

helped me to believe in myself.

To my friends, your constant support, laughs, and food keep me going. Mom and Dad,

thank you for bringing me into this world. Josh, thank you for your generous support. Dr. Dennis

Nygren, thank you for your scholarly work on Debussy.

v

TABLE OF CONTENTS

List of Musical Examples…………………………………………………………………………vi

Abstract…………………………………………………………………………………………..vii

1. INTRODUCTION…..…………………………………………………………………………..1

2. FRANZ SCHUBERT’S ARPEGGIONE SONATA: A PERFORMER’S PERSPECTIVE……...2

3. DEBUSSY’S PREMIÉRE RHAPSODIE: A PERFORMER’S PERSPECTIVE………….…...25

4. CONCLUSION..........................................................................................................................35

Bibliography .........................................................................…………………………………….37

Biographical Sketch ......................................................................................................………….40

vi

LIST OF MUSICAL EXAMPLES

Ex 2.1 Letter A in Adagio from Schubert’s Sonata in A minor, D. 821.............................................8

Ex 2.2 Rehearsal B in Adagio...........................................................................................................9

Ex 2.3 Allegro Moderato at rehearsal S. ………………………………………………………………..……10

Ex 2.4 Nine measures at rehearsal 5 in the third movement, Allegretto…........……………..……11

Ex 2.5 Rehearsal 10-11 in the Allegretto........................................................................................12

Ex 2.6 Measures 8-11 in Adagio.....................................................................................................13

Ex 2.7 7 and 6 measures before letter A in Adagio..........................................................................14

Ex 2.8 13th

measure of rehearsal 1 in Allegretto..............................................................................14

Ex 2.9 Measures 44-48 of the Allegro moderato……………………………………………….....17

Ex 2.10 Measures 66-69…………..………………………………………………………….......17

Ex 2.11 Measures 74-79 in Allegro moderato……………..………………………………….….18

Ex 2.12 Measures 128-147 from Allegretto…………………………………………..……….….19

Ex 2.13 Measures 114-119 from Allegro moderato……………..………………………………..21

Ex 3.1 Measure 2 in Debussy Première Rhapsodie ……………......…………………………..…29

Ex 3.2 Measure 69 in Debussy Première Rhapsodie…………….……….....…………………....31

Ex 3.3 Measure 168 in Debussy Première Rhapsodie……………...………………………….…31

Ex 3.4 Measures 185-188 in Debussy Première Rhapsodie ………...…………………...…….....32

Ex 3.5 Measure 201 in Debussy Première Rhapsodie ….……………………..…………….....…33

vii

ABSTRACT

This treatise, comprised of the transcriptions from two lecture recitals, discusses Franz

Schubert’s Arpeggione Sonata as transcribed for clarinet and piano and Debussy’s Première

Rhapsodie. Schubert composed his Arpeggione Sonata on the cusp of his great Beethoven

Project, a project that defined his legacy. It was subsequently transcribed by four different

clarinetists. Debussy composed his Première Rhapsodie during a period when he was learning to

master his own musical style through musical imagery. Both pieces helped to define these

composers’ musical focus and have become important pieces in the clarinet repertoire. Topics of

discussion include comparisons of selected editions and arrangements, fingerings, tessitura,

intonation, ensemble balance, instrumentation, and tempi.

1

CHAPTER ONE

INTRODUCTION

This treatise, comprised of the transcriptions from two lecture recitals, discusses Franz

Schubert’s Arpeggione Sonata as transcribed for clarinet and piano and Debussy’s Première

Rhapsodie. Schubert composed his Arpeggione Sonata on the cusp of his great Beethoven

Project, a project that defined his legacy. It was subsequently transcribed by four different

clarinetists. Debussy composed his Première Rhapsodie during a period when he was learning to

master his own musical style through musical imagery. Both pieces helped to define these

composers’ musical focus and have become important pieces in the clarinet repertoire. Topics of

discussion include comparisons of selected editions and arrangements, fingerings, tessitura,

intonation, ensemble balance, instrumentation, and tempi.

2

CHAPTER TWO

FRANZ SCHUBERT’S ARPEGGIONE SONATA: A PERFORMER’S PERSPECTIVE

Franz Schubert completed the Arpeggione Sonata in A minor, D. 821 in November of

1824. The Sonata is significant because it marked Schubert’s compositional departure from

predominantly vocal works and songs to strictly instrumental compositions; this period would

later become known collectively as Schubert’s Beethoven Project.1 This chapter will explore the

historical context of this piece, focusing on the impact of Schubert’s poor physical health due to

his contraction of syphilis, and the sway of his circle of friends. In addition, this paper will also

address the modern performance of this piece by analyzing, comparing, and contrasting four

selected editions of the Sonata that have been arranged for clarinet and piano; as well as a short

comparison on performing the piece with piano versus guitar.

Franz Schubert died at the age of 31. The last six years of his life were riddled with

symptoms of illness: both which took a toll on his body and his mind.2 Though the official cause

of his death (19 November 1828) was ruled to be typhoid fever, there is evidence suggesting that

Schubert had died from syphilis.3 One piece of evidence supporting this theory involves the

medical use of mercury lotion, bloodletting, and fasting. It was a common practice to use

bloodletting to remove impurities from the body, extreme fasting to further rid the body of

toxins, and mercury lotion to topically treat the rashes associated with syphilis.4 Modern

medicine does not recognize these as viable treatments for syphilis and suggests that these

methods did more harm than good. The fact that Schubert developed dementia four to six years

1 John Michael Gingerich, Schubert's Beethoven Project (Cambridge: Cambridge University Press, 2014), 5.

2 Rold, “S Robert L. Rold, “Schubert and Syphilis,” Journal of Medical Biography 3 (March 1995): 232.

3 Rold, “Schubert and Syphilis,” 235.

4 Ibid.

3

after contracting the disease, and that his symptoms during the final years of his life matched

those of mercury poisoning, it suggests that he was dealing with the effects of syphilis. Despite

the treatments available, the disease was ultimately fatal.

Schubert, in his last years, conceiving that his lifespan would be cut short due to his

declining health, began to write works in the hope that he might achieve some level of financial

gain and leave a legacy similar to that of Beethoven, Mozart, and Haydn.5 Schubert, however,

was not a great promoter of his music and tended to lack vision as to what musical works would

be profitable. As such, he relied on his circle of friends for inspiration regarding his musical

compositions. Much of Schubert’s musical output during this time was written with the influence

of this group in mind. This circle of friends, who would gather and privately perform his works,

would later become known as the Schubertiade. Though he achieved a level of notoriety in his

lifetime, his compositions were rarely performed in public. It would be many years after his

demise that his musical genius would be truly recognized.6

Drawing upon Beethoven’s success, Schubert focused his composition on piano sonatas,

string quartets, and symphonies. The Arpeggione Sonata was one of the works that marked his

transition from writing music solely for the aristocracy to more commercialized music that

would appeal to the public. Even though he intended for the piece to be comparable to

Beethoven’s sonatas, the Arpeggione Sonata was not considered to be part of the fourteen pieces

that made up the Beethoven Project.7

An interesting aspect of his compositions during the last years of his life was the abrupt

changes of tone and mood and how these changes mirrored the undulating states of his mental

5 Gingrich, 6.

6 Ibid.

7 Ibid.

4

and physical health.8 The Arpeggione Sonata displays these abrupt tone and mood changes. He

was bedridden for most of 1823 and into the summer of 1824. Depressed, Schubert in a letter to

his friend, Kupelwieser, wrote:

In a word, I feel myself to be the most unhappy and wretched creature in the world.

Imagine a man whose health will never be right again, and who, in sheer despair over

this, ever makes things worse and worse, instead of better; imagine a man, I say, whose

most brilliant hopes have perished, to whom the felicity of love and friendship have

nothing to offer but pain…9

In another letter from August of 1824, one can see how his mood and health are

completely opposite:

I am still well, thank goodness, and should be quite comfortable here…I have composed

a grand sonata and variations for four hands, which the latter are having a great

success…10

The arpeggione, also known as the “bogen-guitarre” or the bow-guitar, was created by

one of Vienna’s most prominent guitar luthiers, Johann Georg Staffer. Staffer is credited with

developing many upgrades to the guitar such as the “flying fingerboard,” the “persian slipper”

shape of the guitar headstocks, and longer fingerboards. The arpeggione has six strings and is a

combination of the shape of a guitar and cello. Its tuning is that of the guitar. Lacking an end pin,

the instrument has to be held by the feet, much like its instrumental cousin, the viola de gamba.

The bridge of the arpeggione is slightly curved, more so than the guitar, but less than that of the

cello. This curvature made playing one string at a time somewhat difficult. The name,

arpeggione, was given in part because of the ease of which the performer could play arpeggios. It

8 Michael Hovnanian, et al., Schubert’s Arpeggione Sonata Revisited, http://www.discordia-

music.com/Arpeggione_Project/introduction.htm(accessed January 13, 2017). 9 Maurice Brown, et al., The New Grove Schubert (New York: W.W. Norton, 1983), 42.

10 Ibid.

5

is interesting to note, however, that Schubert, in his sonata, does not emphasize this capability of

the instrument.11

The Arpeggione Sonata is the only significant work known to exist for the arpeggione. It

was likely written for Schubert’s friend and cellist, Vincenz Schuster, who at the time was at the

forefront of the development of technique and repertoire for the arpeggione in Vienna.12

While

there is no evidence that Schubert received any monetary compensation for this piece, it does

seem likely that Staffer would have commissioned a piece for this new instrument.13

The Sonata

was premiered the following month, which was the only known performance of the work during

Schubert’s lifetime.14

During 1825, Schuster published a leaflet on how to play the bow-guitar

(arpeggione), which, was perhaps an attempt to boost his career and the popularity of the

instrument.

Not long after its creation, the arpeggione was already on its way out of fashion. By the

time the Arpeggione Sonata was published (posthumously) in 1871, the instrument was

completely obsolete. The possible reasons for this are purely conjecture, but are nonetheless

intriguing. The arpeggione was a relatively quiet instrument and was originally intended by

Schubert to compete with the volume demands of the pianoforte. As the dynamic capabilities of

the pianoforte increased, however, the arpeggione became a less viable option. The arpeggione

was directly related to the viola de gamba family, which were viewed as Baroque instruments,

that were also going out of style during this time period.15

11

Hovanian, 4. 12

Ibid. 13

Gingrich, 6. 14

Hovanian, 5. 15

Ibid.

6

The Arpeggione Sonata, created on the cusp of Schubert’s Beethoven project, was written

in a distinctly Beethovenian style and showed similarity to Beethoven's Cello Sonata Op. 102.16

In the romantic repertoire there are only a few other works of this magnitude that have been

transcribed as often. It is interesting that a composition written for an extinct instrument [the

arpeggione] is now performed most often as a transcription. A transcription for the clarinet

seems natural due to the clarinet’s capability of smooth large leaps, the similarities of range

between the arpeggione and clarinet, and the written key center of A minor being idiomatic for

the clarinet.

In the sections below, the following aspects of the piece will be discussed regarding how

they relate to four different arrangements made for clarinet and piano by four different arrangers:

displacement of melodic material, tessitura, length of the piece, choice of key center, choice of

accompaniment instrument, page turns, and the choice between using the Bb clarinet or clarinet

in A.

Three of the four selected editions find a unique way to displace some of the clarinet’s

melodic material to the piano while the fourth edition stays true to the original composition.

Tessitura displacements are necessary to make the piece work on the clarinet due to the range of

the arpeggione, which is wider than that of the clarinet.17

One arranger offers an abridged version

with the A clarinet indicated as the solo instrument and two editors chose to change the key

center and one offered an alternate accompanying instrument.

One of the first published arrangements of Schubert’s Arpeggione Sonata for Bb clarinet

and piano was completed by Simeon Bellison in 1940.18

Bellison believed that Schubert had,

16 Hovanian, 6. 17Ibid. 18BellisonwasprinicipalclarinetistoftheNewYorkPhilharmonicfrom1920-1948andwasknownfor hispedagogicalcontributionstotheclarinet.

7

perhaps, left the work incomplete due to the lack of dialogue between the instruments-an

uncharacteristic aspect in the other works of Schubert. Despite Bellison’s reference to the sonata

as being long for the listener and long for the player, he chose not to adjust the length of the

piece with cuts. Instead, Bellison made some changes to the more repetitive passages of the

work, creating more dialogue between the piano and clarinet.19

He also chose to transpose the

work down a whole step from A minor to G minor, thus making the work more idiomatic for the

clarinet. One aspect Bellison did not seem to give much attention to was page turns, as they are

quite difficult to manage in his arrangement.

Throughout the Sonata, Bellison elected to give some of the melodic material of the

clarinet to the piano. This allowed the clarinetist to rest during the performance and provided

more dialogue between the instruments, thus adding more variety to the musical texture. It is

likely that Bellison also altered the piano part to provide more interesting and rewarding material

for the pianist. While this method was utilized artfully eleven times in total throughout the

arrangement, not everyone would agree that these changes are valid.

For example, the cadenza-like link between the second and third movements, usually

played by the soloist, is given to the piano. This certainly gives the clarinetist extra time to rest

and prepare for the rigor of the third movement, but perhaps this change detracts from the

musical gesture itself. Also, in the second movement, Adagio, the clarinet part is transplanted

into the piano score for the eight measures between rehearsal marks A and B.

While this does create an interesting textural change, the other three arrangers chose to

leave this movement unaltered. This alteration does not improve the continuity of overall phrase

19FranzSchubert,SonatainAminor,D.821(NewYork,NewYork:CarlFischer,Inc.,1940).

8

structure for this section. If Bellison would have carried this idea forward for an additional five

measures at letter B, the musical idea would be more complete.

Arpeggione Sonata by Franz Schubert, Arranged by Simeon Bellison

© 1940 by Carl Fischer, Inc (New York).

Reprinted by permission of Carl Fischer, Inc.

Ex. 2.1 Letter A in Adagio from Schubert’s Sonata in A minor, D. 821. Arr by Simeon Bellison. The solo line is

given to the piano for 8 measures.

While this does create an interesting textural change, the other three arrangers chose to

leave this movement unaltered. This alteration does not improve the continuity of overall phrase

9

structure for this section. If Bellison would have carried this idea forward for an additional five

measures at letter B, the musical idea would be more complete.




Ex. 2.2 Rehearsal B in Adagio. Perhaps Bellison should have continued to have the piano play the solo line for five

measures at rehearsal B.

Instead, Bellison allows the clarinet to retain the melodic line at letter B which creates a

disjointed idea. Other similarly altered areas include letters E and P for four measures in the first

movement.

10

Some sections where Bellison’s concept of exhanging the musical line that work

particularly well are the four measures before S in the first movement, and for eight measures at

rehearsal mark 5 in the third movement.




Ex. 2.3 Allegro Moderato at rehearsal S. The solo clarinet line is played by the piano for four measures.

Performing this work in its entirety requires considerable stamina for a clarinetist and by

the middle of the third movement it is likely that the clarinetist will be fatigued. Bellison

11

addresses this by handing the clarinet part off to the piano in two locations that add up to forty-

two measures; rehearsal marks 10 to 11 and 15-16.




Ex. 2.4 Nine measures at rehearsal 5 in the third movement, Allegretto. The solo clarinet line is given to the piano

for over nine measures at rehearsal 5 in the third movement, Allegretto.

12




Ex. 2.5 Rehearsal 10-11 in the Allegretto. The solo clarinet line is given to the piano.

Bellison did adjust the tessitura slightly in the clarinet part throughout his arrangement

which helps the clarinet avoid the extreme altissimo range. This reduces the overall difficulty

and allows the clarinet to be heard in its best sounding registers. For example, the clarinet part is

lowered by an octave for eight measures at rehearsal mark 3 in the Allegretto. Playing this line an

octave higher would be substantially more difficult to play with ease, finesse, and beauty of

13

sound.

Bellison’s choice to transpose the piece down one whole step to G-minor makes it much

easier for the clarinetist by minimizing awkward technical passages. This does not mean,

however, that there is a lack of fingering choices for the clarinetist throughout the work.

Movement one, Allegro moderato, brings a multitude of common fingering quandaries such as

which altissimo F fingering to use in the fifth measure of letter E and which series of pinky keys

to use in the third measure of rehearsal letter I. At the fifth measure of letter E, the clarinetist

should consider either the standard altissimo F fingering or the long altissimo F fingering and in

the third measure of letter I there are four distinct fingering options that should be explored.

In movement two, the potential use of the issue of using the side altissimo C# fingering

rises in measure ten and in the seventh measure before A. Measure ten is a sensitive phrase and

the side altissimo C# fingering allows the player to remain within the clarion register. With

proper breath support this option eliminates having to cross the register break into the altissimo.




Ex. 2.6 Measures 8-11 in Adagio.

14

In the seventh measure before rehearsal letter A, the altissimo C# may be played with the

above mentioned side fingering. The clarinetist may still elect to use the regular altissimo C#

fingering due to the desire for a more brilliant tone for this passage.




Ex. 2.7 7 and 6 measures before rehearsal A in Adagio.

In movement three, Allegretto, at the thirteenth measure of rehearsal mark 1, the altissimo

E could be enhanced for smoothness and intonation by fingering it like a clarion G with the

throat tone G# added.




Ex. 2.8 13th

measure of rehearsal 1 in Allegretto.

15

This same fingering could be used in the thirteenth measure of rehearsal mark 11. Also,

in the third movement, four measures before rehearsal mark 4, the side altissimo D may be

considered and fourteen measures before rehearsal mark 12 the altissimo D# should be fingered

like so: RT 23/3Eb.

In movement three, Allegretto, a fermata is added just before rehearsal mark 12. Many

performers would probably have already added some time here but Bellison chose to make it

more obvious with his addition of the fermata. It is interesting to consider what Schubert might

have done in these instances if he had spent more time editing the piece.

When composing the Arpeggione Sonata, Schubert was particular about selecting the key

of A minor which was likely due to the specifications, advantages, difficulties, and limitations of

the arpeggione.20

Respecting this purposeful selection of tonal center, Jack Brymer decided to

keep his arrangement of the Sonata in the original key of A Minor and chose to use the A clarinet

rather than the Bb instrument.21

Because he believed that the clarinet sounds its best in the

clarion and chalumeau registers, he tried to avoid using the altissimo in his arrangement.22

Brymer wanted to make the Arpeggione Sonata playable by both amateur and

professional clarinetists. He accomplished this by shortening the overall length of the piece,

displacing the melodic solo part so that the piano has interludes, providing the clarinetist time to

rest, adjusting the use of the tessitura to decrease technical demands and enhance the best tonal

characteristics of the instrument, and selecting to use the A clarinet, thus allowing the clarinetist

to perform in C-minor, which makes the piece generally less technically demanding. Brymer

20

Franz Schubert, Sonata in A minor, D. 821 (London, England: Josef Weinberger Ltd., 1980). 21

Jack Brymer was an English clarinetist (1915 – 2003) who was known for his orchestral performances, teaching,

and clarinet publications. 22 Franz Schubert, Sonata in A minor, D. 821 (London, England: Josef Weinberger Ltd., 1980).

16

mentions that the work needs a “perfect legato” and the A clarinet reduces the technical

difficulties encountered with this transposition.

The most significant change that Brymer made with his arrangement of the Sonata is the

removal of 34.8% of the overall number of measures. While he maintains the original seventy-

one measures in the second movement, he removes sixty-five measures from the first movement

and reduces the third movement by one hundred and ninety measures. This is a reduction of two

hundred fifty-five measures. These changes were made for two main reasons: first, to decrease

the amount of playing for the clarinetist so that endurance is much less of an issue, and second,

to reduce the amount of repeated material.23

He also attempted to create more dialogue between the piano and clarinet by adding

piano interludes and handing off some of the melodic material from the clarinet to the piano.24

He did this by interspersing a single measure or other smaller chunks of the clarinet line into the

piano part. For example, in measures 44-48 in the first movement, he takes what was originally a

continuous five measure solo line and gives small pockets of this line to the piano in measures 45

and 47. This may not have been completely neccesary from a technical or musical perspective

but the result is a more duo-like passage.

In measures 67 and 68, the solo line is temporarily given to the piano which is another

example of creating dialogue between the two instruments. Other similar examples worth

mentioning are measures 171-181 and 195-199.

23 Ibid. 24 Ibid.

17

Arpeggione Sonata by Franz Schubert, Arranged by Jack Brymer

© 1980 by Josef Weinberger Ltd., (London).

Reprinted by permission of Josef Weinberger Ltd.

Ex. 2.9 Measures 44-48 of the Allegro moderato. One measure interjections are given to the piano from the solo

clarinet line.




Ex. 2.10 Measures 66-69. The solo clarinet line is given to the piano.

In measures 74-77, Brymer gives the opening solo clarinet melody to the piano for five

measures. This is unlike any of the other arrangements as it provides a new treatment of the

opening melody.

18




Ex. 2.11 Measures 74-79 in Allegro moderato. Original opening clarinet melody given to piano.

In movement two, he attempted to create more of a dialogue by giving the melodic lines in

measures 16-19 and 50-56 to the piano. This may not have been necessary as the Adagio is

already sparse and well-stated. Additionally, the other arrangers left this movement almost

completely untouched. Further dialogue is created in the third movement, Allegretto, in measures

41-52, and 74-80 by transplanting the melodic line to the piano.

Brymer managed to create a piano interlude that makes so much musical sense that

Schubert would surely have approved. This occurs in measures 132-147 and links the poco

tranquillo to the poco meno mosso - a section that was once a continuous line for two

instruments. This interlude works very well.

He also noted that an exact transcription of the sonata, especially for the Bb clarinet,

would make the clarinet play in the altissimo register, which can be difficult, and potentially

unpleasing to the audience. By using the soprano clarinet pitched in A, Brymer could maintain

the original key center as intended by Schubert and allow for more ease of control due to less

19




Ex. 2.12 Measures 128-147 from Allegretto. Solo clarinet line is given to piano.

20

awkward fingerings for the clarinetist. By lowering the tessitura of some passages he was able to

emphasize the beauty of the clarinet’s clarion range.25

This means the second movement includes

just eight altissimo notes. On the whole, it is unfortunate that Brymer, or the International

Company, were not concerned with usable page turns for this arrangement as it remains

burdensome for the performer.

Jerry Kirkbride presents his arrangement of Schubert’s Arpeggione Sonata in two

versions, one for clarinet and guitar and one for clarinet and piano.26

It is the only arrangement in

this study that remains in the original key of A minor and is played on Bb clarinet. This fact

alone makes this arrangement the most technically challenging of the four.

Kirkbride ignored all changes that Bellison or Brymer made in regards to sharing or

subtracting the solo line, making the piece more “Duo Like,” or giving the clarinetist time to rest.

Kirkbride did not abridge the piece in any way and his edition follows Schubert’s original

composition very closely. Unlike the other editions being considered, no cuts or alterations were

made to the assignment of the melodic line. The piano part is almost identical to the original and

the clarinet part retains the musical gestures as indicated in the original arpeggione part. This

arrangement is the closest to the original composition.27

While the outer movements of the Sonata have their own unique spacing, the

second movement looks almost exactly like the original published version, the only changes

being a transposed solo part, a few added accents, and a few minor tessitura adjustments to suit

the clarinet range. An example of one tessitura change would be measure 34 in the Adagio where

the arpeggione demonstrates a large leap consisting of two octaves and a major sixth, but where

25

Ibid. 26

Jerry Kirkbride was the professor of clarinet at the University of Arizona from 1987-2016. 27

Franz Schubert, Sonata in A minor, D. 821 (London, England: Josef Weinberger Ltd., 1980).

21

Kirkbride subtracts one octave due to the clarinet’s more limited range.

Page turns are a serious issue with Kirkbride’s edition, and even with the aid of photo

copies it is still tricky to navigate. It would make sense to put the first movement, which consists

of four pages, on two stands. While this may be visually distracting, it should receive some

consideration. Another option is to turn to the third page of the first movement, Allegro

moderato, with the right hand if the clarinetist uses a fingering for the altissimo F# that only

utilizes the left hand.

Arpeggione Sonata by Franz Schubert, Arranged by Jerry Kirkbride

© 1982 International Music Company, (New York).

Reprinted by permission of International Music Company.

Ex. 2.13 Measures 114-119 from Allegro moderato. The page turn is just before measure 117.

This can be fingered like an overblown chromatic Bb just above the staff and has a

similar voicing to the popular altissimo F# fingering that is like the side Bb just above the staff.

Another place where this fingering is necessary to make a page turn is measure 203 in the third

movement. It is crucial that the performer remembers to look ahead and turn the page here as

quickly as possible, as well as returning the right hand to the instrument immediately for the next

phrase.

22

Since the piece remains in the original key, Kirkbride’s arrangement is substantially more

difficult. Unlike the other arrangements being considered, Kirkbride’s version of the second

movement uses the altissimo register often (29 times), which requires incredible breath control

and finesse to accurately execute intonation, phrasing, and control needs.

By the time Yoel David made his arrangement in 2001, there was little new material to

contribute to the Sonata.28

He primarily adopted Bellison’s vision but with some minor

differences in articulations, tessitura choices, and piano interludes. Cuts similar to the Brymer

arrangement are indicated as optional. Most importantly, David addresses what the other

arrangers ignored, page turns.

Page turns in the other three arrangements add an extra challenge to the mix and are not

addressed in a satisfactory manner. David’s arrangement includes page turns that are easily

accessible for the soloist. The second movement includes eleven altissimo notes, which is a

moderate amount in comparison to other editions and the arrangement is presented in the more

accommodating key of G-minor and is scored for the Bb clarinet.

When performing the work with guitar, as is an option with Kirkbride’s arrangement, the

clarinetist must explore, in all registers, the softer dynamics of the instrument. A true forte

dynamic will likely never be achieved in this duo. In contrast, when performing this work with

piano, the clarinetist has the full range of dynamics at their disposal. The softer dynamics the

clarinetist must achieve while performing with guitar will likely need to be expanded when

performing with piano.

28

Yoel David taught clarinet at the National Conservatory of Mexico for 27 years before retiring in 2005.

23

Unlike the piano, the guitarist has the capability to modify the pitch during the

performance. While this is perhaps an advantage regarding control, there is also the danger of

intonation problems arising during the performance. In this same vein, the guitarist also has the

ability to use vibrato, which tends to add beauty and suits the expressive nature of wind

instruments, such as the clarinet. However, it must also be kept in mind that the accompaniment

was written for the pianoforte, which like the modern piano, is incapable of vibrato.

Another performance aspect that needs consideration is the page turns for the guitarist.

Given that the guitar plays for most of the piece, the guitarist must carefully consider the page

turns and will likely need to make a copy of the score in a reduced size format to facilitate this

process. Page turns are generally not an issue for a pianist as they may choose to employ a page

turner.

Regarding the possibility of transposing the piece down a whole step to G minor, it was

brought to the author’s attention that guitarists are generally not willing to detune their

instruments by a whole step. Some reasons for this reluctance are as follows: detuning the guitar

alters the tone and response of the instrument, causing a loss of brilliance and articulation clarity;

the strings become more flexible and may cause undesirable sympathetic vibrations or in some

instances cause the strings to come in contact with the neck and/or frets causing a sound similar

to the slap bass effect; and, the overall volume range of the instrument is decreased, causing the

guitar to lose its ability to play louder volumes. Because playing with guitar is already a

challenge in terms of volume for a clarinetist this detuning of the guitar strings is not

advisable.

All four editions presented in this document have interesting qualities. Bellison made an

arrangement for all to follow. Brymer made an abridged arrangement that is playable by more

24

clarinetists. Kirkbride made an edition that stayed true to Schubert’s original vision and key

center and included the option of replacing the piano with guitar. David’s arrangement follows

Bellison’s vision of transposed key and creating dialogue. He includes an optional cut like

Brymer’s arrangement, and plans out the page turns making them accessible for the clarinetist.

Considering all the editions mentioned, Brymer’s edition is the most playable due to

limited technical demands. However, despite being more technically accessible, it still requires

the use of an A clarinet. Both Bellison’s and David’s arrangements lay well on the Bb clarinet,

but are transposed a step lower than the original key. It is conceivable that Schubert may have

put the piece into this key had he made his own edition for the clarinet. Kirkbride expanded the

vision of the work by arranging the accompaniment part for guitar, but his choice to keep the

arrangement in the original key, makes the control and technique of the piece more difficult for

the clarinetist.

25

CHAPTER THREE

DEBUSSY’S PREMIÉRE RHAPSODIE: A PERFORMER’S PERSPECTIVE

Claude Debussy was a prolific composer who wrote music in a number of different

genres: works for piano, chamber ensemble, orchestra, voice and piano, ballet, instrumental solo

with orchestra accompaniment, and others. One notable work among these was his Première

Rhapsodie of 1910, which was initially scored for solo clarinet and piano, but was later arranged

for clarinet and orchestra. This piece reflected many of the compositional techniques associated

with Debussy’s “musical awakening.”

Largely considered today as an impressionistic composer, Debussy did not particularly

ascribe to this label. Instead, he thought of his music as “realism.”29

In many respects, his early

music was steeped in the tradition of the late romantic composers. However, by the early part of

the 20th century, his music was pushing the socially acceptable limits of harmony and

compositional structure. This departure can be regarded as Debussy’s “musical awakening”; and

had the impact of redefining the musical composition landscape for many years into the future.30

One notable practice during this awakening was his attempt to express imagery through musical

sound; a practice which became fully realized in his pieces La Mer of 1903-04 and Images of

1905-12.31

In 1910, Charles Malherbe, perhaps having been influenced by Debussy, wrote the

following in his program notes for the “Rondes de printemps,” the third movement of Debussy’s

triptych piece, Images:

29 SimonTrezise,ed.,TheCambridgeCompaniontoDebussy(Cambridge,UK:CambridgeUniversityPress,

2003),196. 30 Ibid. 31 LeonVallas,ClaudeDebussy:HisLifeandWorks(NewYork,NewYork:DoverPublications,Inc.,1973),196.

26

...These are real pictures’ one reads ‘in which the composer has endeavored to convey,

aurally, impressions received by the eye. He attempts to blend the two forms of sensation,

in order to intensify them. The melody, with its infinitely varied rhythms, corresponds to

the multiplicity of lines in a drawing; the orchestra represents a huge palette where each

instrument supplies its own colour...he wants us to visualize what he makes us hear…32

Debussy’s practice of musical imagery, throughout his scores, is further confirmed with

his use of musical captions that read more like musical suggestions. One prominent example is

from the title of his work, La Mer, which itself translates to “The Sea.”33

Iberia, another

prominent example is from his triptych work, Images. The titles from Iberia’s three movements

translate into the following english phrases: "Through the streets and the paths," "The fragrance

of the night," and "The morning of a festival day."34

Likewise, the Première Rhapsodie has a

unique musical heading, “Dreaming,” which, as a single word, is simple and leaves much open

to suggestion and interpretation.35

In February 1909, Debussy was appointed to the Paris Conservatoire. This appointment

was made possible through the efforts of Gabriel Faure, who had been the director of the school

since 1905. Debussy was “literally dumbfounded” by the appointment, considering that he and

Faure had not been friends or colleagues until that point.36

While Debussy believed in serving on

the faculty at his alma mater, he was not a proponent of competitions; something for which the

Paris Conservatoire was well- known. Concerning the conservatory's competitions, Debussy

remarked,

32 Ibid. 33 Claude Debussy, La Mer. Paris, France: Durand & Cie, 1905. 34

Claude Debussy, Images. Images. Paris, France: Durand & Cie, 1912. 35

Claude Debussy, Première Rhapsodie Pour Clarinet En Sib (et Piano). Paris: Durand & Cie, 1910. 36

Dennis Quentin Nygren. The Music for Accompanied Clarinet Solo of Claude Debussy: An Historical and Analytical Study of the Premiere Rhapsodie and Petite Piece. Ann Arbor, Michigan:

ProQuest/UMI, 1982, 1.

27

There is nothing more absurd than the competition. There are pupils from the

Conservatoire who have never won any prize or award and yet who have become

excellent and accomplished Musicians.37

Nevertheless, Debussy served on the competition committees at the school and agreed to

compose two pieces for solo clarinet and piano for the 1910 competition: the Première

Rhapsodie and the Petite Piece.

Composed between December 9, 1909 and January 10, 1910, the Première Rhapsodie

and the Petite Piece served two different functions. The Première Rhapsodie was given to the

students one month before the competition performance as a prepared piece and the Petite Piece

was used as a sight-reading piece. Only days before the competition, Debussy wrote:

On Sunday, you should feel sorry for me; I will have to hear the Rhapsodie for Clarinet

in Bb played eleven times. I will tell you all about it if I am still alive.38

The following week he wrote:

The competitive examination for clarinet was especially brilliant and, if I may judge by

the look on my colleagues’ faces, the Rhapsodie was a success. One of the candidates,

Vandercruyssen, played it by heart and like a great musician. As for the others, they

were fair and rather mediocre.39

The Première Rhapsodie was dedicated to the Paris Conservatoire’s clarinet professor,

Prosper Mimart, and was publicly premiered in a concert setting by Mimart and pianist, Maria-

Georges Krieger, on January 16, 1911. It was after this successful performance that Debussy

decided to orchestrate the work. On December 8, 1911 Debussy wrote,

Surely this piece is one of the most pleasing I have ever written…40

37

Nygren, 2. 38

Nygren, 3 39

Ibid. 40

Nygren, 4.

28

While Debussy orchestrated the Première Rhapsodie for a 1911 publication, other

arrangements of the work were completed by other composers/arrangers: a four-hand piano

version from 1910 and a solo piano version from 1912. Later versions of the piece would also

follow: a version for violin and piano from 1926, and multiple versions for clarinet and wind

ensemble from the last decades of the 20th

century. Like other solo works for clarinet that were

generated from the competitions at the Paris Conservatoire, such as the Solo de concours by

Raubaud or the Solo de concours by Messager, Debussy’s work for clarinet has become a staple

in the clarinet repertoire and is held dearly by the international clarinet community. Due to its

purpose as a competition piece, Debussy probably didn’t envision that he was creating a

cherished masterwork that would epitomize the musical gestures for which he was striving.

His harmonic language in all of the aforementioned pieces include the use of triads;

varying seventh, ninth, eleventh, and thirteenth chords; and his use of melodic material is often

constructed of whole-tone, tri-tone, pentatonic, and modal material. Chordal movement is often

not functional: modal progressions, unresolved dissonances, nontraditional root movement, and

parallelism. However, in consideration of the mood of the music, Debussy did employ functional

movement when deemed appropriate.41

With this piece he pushed the limits of the compositional

practices of the day, and musicians and critics either loved or hated it.42

Debussy’s tendency to immediately repeat melodic phrases, rhythmic motifs, and even

basic intervallic ratios is prevalent throughout the Première Rhapsodie. An interesting note about

these gestures is that they sometimes are connected with a crescendo from a medium or loud

dynamic, only to unexpectedly land on a soft dynamic. Debussy said,

41

Ibid. 42

Vallas, 196.

29

I would like to see, and I will succeed myself in producing music…consisting of one

continuous “motif” which nothing interrupts and which never turns back on itself.43

One specific cell of motivic movement from the Premiere Rhapsodie illustrates this idea

and can be seen as the basis for much of the melodic material used in the piece. Starting at the

beginning there is an outlined major 2nd

followed by a minor 3rd

in a descending pattern (F-Eb-C)

which is inverted within the same two measures in an ascending pattern as a minor 3rd followed

by a major 2nd

(F-Ab-Bb).44

Première Rhapsodie pour clarinette en Sib (et piano) by Claude Debussy

© 1910 Durand & Cie, (Paris).

Reprinted by permission of Durand & Cie.

Ex. 3.1 Measure 2 in Debussy Première Rhapsodie. Notice the F-Eb-C and the F-Ab-Bb.

43

Nygren, 5. 44 Nygren, 16.

30

This same idea is also later presented simultaneously in both the piano and clarinet using

rhythmic variation. Much of the musical material throughout the rest of the piece can be traced to

this simple musical gesture.45

Although the tempo marking of 50 beats per minute was clearly indicated at the

beginning of the piece, Debussy was not concerned with a strict observance of this tempo. In a

letter he wrote to his publisher, Durand, on October 9, 1915, Debussy stated,

You know what I think about metronome marks: they’re right for a single bar, like roses,

with a morning’s life. Only there are those who don’t hear music and who take these

marks as authority to hear it still less!46

Debussy’s score only indicates this tempo of 50 bpm one time and thereafter the

indicated tempo markings are all within proportion, except for the Scherzando and the Anime

sections, which do not have an exact tempo marking. The performer has much liberty in deciding

his or her performance tempos and even has the option of performing the piece in a free manner

without ever specifying exact numeric tempos.

Some interesting notation changes were made by the composer between when the piece

was presented to Durand in the autographed edition and the time it was initially published. This

may have happened, perhaps, with the help of the clarinetist to whom the piece was dedicated,

Mimart. Some of these changes kept the same rhythmic qualities and simply adjusted the

tessitura. The rhythm was changed in only two locations and one of them includes a chromatic

scale being substituted for a trill. On the whole, the published version is more technically

challenging than the autograph version.

45Ibid.46 Trezise, 22.

31



Reprinted by permission of Durand & Cie and Dennis Nygren.

Ex. 3.2 Measure 69 in Debussy Première Rhapsodie.

a) From autograph manuscript.

b) From published version.

.







32




Ex. 3.4 Measures 185-188 in Debussy Première Rhapsodie.



At the beginning of the clarinet’s closing passage, five measures after rehearsal 12, there

are two note discrepancies that were due to a publisher error.47

The first two notes of the triplet

figure on beat three are either played as a D-sharp followed by an E-natural or a D-natural

followed by an E-flat.

The autographed manuscript of the piano edition, the autographed manuscript of the

orchestral version, and the published edition of the orchestral version all indicate that the notes

should be D-sharp and E-natural. Only one source, the original Durand published piano edition,

indicates D-natural and E-flat.48

47

Nygren, 131. 48

Nygren, 133.

33





1) Clarinet/piano autograph

2) Durand clarinet/piano edition

3) Orchestral autograph

4) Durand orchestral score

One major factor affecting the performance practice of the Première Rhapsodie is

whether the piece is accompanied by piano or orchestra. Range of volume, rubato, ease of

transitions, intonation, and timbre are some of the musical aspects that will need to be considered

between the two editions.

The orchestral version is for a full-sized orchestra. When comparing this to the piano

accompaniment version, it is easy to notice that the orchestral version has more of a potential for

elevated volume levels. For the clarinetist, this means that the softer end of the dynamic

spectrum will be diminished and that there may be a risk of being over powered by the orchestra.

Adjusting some of the softer sections of the piece so that they sound louder will be important. In

addition, there is far more possibility for a variation regarding intonation when the orchestra is

involved. This is due to the increased possibility of human error with instruments that are not of

a fixed pitch.

When performing the Première Rhapsodie with piano there will naturally be more

freedom for rubato and intricate tempo changes. This is due to the potentially quicker reaction

34

time of a single pianist, as compared with a large ensemble. In the moment of performance, the

pianist will more likely be able to adjust to the clarinetist providing a greater sense of freedom

overall. Because the piano is a fixed pitch instrument there will only be variations in intonation

made by the clarinetist, thus providing more predictability of intonation.

35

CHAPTER FOUR

CONCLUSION

Debussy and Schubert represent two very different compositional styles, centuries, and

schools of musical thought. The compositions addressed in this study are important works in the

clarinet repertoire and represent milestones in musical achievement. Due to the small amount of

published material available on the Arpeggione Sonata this document would best serve

clarinetists who are curious about the intricacies of this piece.

Performing the Arpeggione Sonata with guitar in G minor using a Bb clarinet originally

seemed like a desirable idea because it would join lesser technical demands with the beauty of

timbre of the clarinet and guitar. It quickly came to my attention that guitarists are not willing to

detune their instruments by a whole step which makes playing the piece in G minor with clarinet

and guitar much more challenging.

One could rework the entire guitar part in G minor without detuning the guitar, but the

potential issues that may arise for the guitarist are unknown. In conversations with guitarists

regarding this matter, it became clear that it would most likely not be idiomatic for the guitar if

this concept was carried out and the arrangement may not work as intended.

For the lecture recital, we played Kirkbride’s arrangement of the Arpeggione Sonata,

which is in the original key of A minor and played on the Bb clarinet. After working through all

the difficulties of that arrangement it became clear that it may be more musically satisfying for

the duo to play the piece with clarinet in A and guitar.

36

It would be a wonderful idea to combine the best qualities of the four arrangements into a

new edition for A clarinet and guitar with attention to the following details: key center,

appropriate page turns, edits that create musical dialogue and alleviate fatigue, and the inclusion

of unabridged parts that include optional cuts. For those who prefer the Bb instrument, this

arrangement could also be played on the Bb clarinet with the same written notes providing the

guitar is raised ½ step with the use of a capo. From a sales standpoint, it would also be important

that a piano score is included in the edition.

37

BIBLIOGRAPHY

Antokoletz, Elliott, and Marianne Wheeldon, eds. Rethinking Debussy. New York: Oxford

University Press, 2011.

Black, Leo. Franz Schubert: Music and Belief. Woodbridge, Suffolk ; Rochester, NY: Boydell

Press, 2003.

Brown, Maurice John Edwin. The New Grove Schubert. New York: W.W. Norton, 1990.

Clive, H. P. Schubert and His World: A Biographical Dictionary. Oxford : New York: Clarendon

Press ; Oxford University Press, 1997.

Cohler, John. Rhapsodie Française. CD Liner Notes. Ongaku Records, 2013.

Cummins, Linda. Debussy and the Fragment. Chiasma 18. Amsterdam: Rodopi, 2006.

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———. La Mer. paris: Durand & Cie, 1905.

———. Première Rhapsodie Pour Clarinet En Sib (et Piano). Paris: Durand & Cie, 1910.

———. Première Rhapsodie Pour Orchestra Avec Clarinette Principale En Sib. Paris: Durand

& Cie, 1911.

Deutsch, Otto Erich. Schubert: Memoirs by His Friends. Oxford: Clarendon, 1998.

Fischer-Dieskau, Dietrich. Schubert: A Biographical Study of His Songs. London: Cassell, 1976.

Gammond, Peter. Schubert. The Composer as Contemporary. London: Methuen, 1982.

Gibbs, Christopher Howard, ed. The Cambridge Companion to Schubert. Cambridge

Companions to Music. Cambridge [England] ; New York: Cambridge University Press,

1997.

Gibbs, Christopher Howard, and Morten Solvik Olsen, eds. Franz Schubert and His World. Bard

Music Festival. Princeton, New Jersey: Princeton University Press, 2014.

Gingerich, John Michael. Schubert’s Beethoven Project. New York: Cambridge University

Press, 2014.

Hilmar, Ernst, and Franz Schubert. Franz Schubert in His Time. Portland, Or: Amadeus Press,

1988.

38

Hovanian, Michael, and Cardonm David. “Schubert’s Arpeggione Sonata Revisited.” Discordia

Music, INC, 2003. http://www.discordia-

music.com/Arpeggione_Project/introduction.htm.

McLeish, Kenneth, and Valerie McLeish. Schubert. Composers and Their World. London:

Heinemann, 1979.

Newbould, Brian, ed. Schubert the Progressive: History, Performance Practice, Analysis.

Aldershot, Hants, England ; Burlington, VT: Ashgate, 2003.

Newman, William S. The Sonata in the Classic Era. 3rd ed. New York: W.W. Norton, 1983.

———. The Sonata since Beethoven. 3rd ed. New York: W.W. Norton, 1983.

Nichols, Roger. The Life of Debussy. Musical Lives. Cambridge ; New York: Cambridge

University Press, 1998.

Nichols, Roger, François Lesure, and Roger Nichols. Debussy Letters. Rev. English ed. with

additional letters. London: Faber and Faber, 1987.

Nygren, Dennis Quentin. “The Music for Accompanied Clarinet Solo of Claude Debussy: An

Historical and Analytical Study of the Premiere Rhapsodie and Petite Piece.” DM

Diessertation, Northwestern University, 1982.

Reed, John. Schubert. The Master Musicians Series. London: J.M. Dent, 1987.

Roberts, Paul. Claude Debussy. 20th-Century Composers. London ; New York: Phaidon, 2008.

Rold, Robert L. “Scubert and Syphilis.” Journal of Medical Biography 3, no. 4 (November 1,

1995): 232–35.

Schubert, Franz. Sonata in A Minor, D. 821, n.d.

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1970.

Schubert, Franz, and Jack Brymer. Sonata in A Minor, D. 821. London: Josef Weinberger, Ltd,

1980.

Schubert, Franz, and Yoel David. Sonata in A Minor, D. 821. Israel: Or-Tav Music Publications,

2001.

39

Schubert, Franz, and Otto Erich Deutsch. Franz Schubert’s Letters and Other Writings. New

York: Vienna House, 1974.

Schubert, Franz, and Jerry Kirkbride. Sonata in A Minor, D. 821. New Yorl: International, 1982.

Sly, Gordon Cameron, ed. Keys to the Drama: Nine Perspectives on Sonata Forms. Farnham,

England ; Burlington, VT: Ashgate, 2009.

Smith, R. J., and R. G. Bryant. “Metal Substitutions Incarbonic Anhydrase: A Halide Ion Probe

Study.” Biochemical and Biophysical Research Communications 66, no. 4 (October 27,

1975): 1281–86.

Trezise, Simon, ed. The Cambridge Companion to Debussy. Cambridge Companions to Music.

Cambridge ; New York: Cambridge University Press, 2003.

Vallas, Léon. The Theories of Claude Debussy, Musicien Français. Hyperion reprint ed. Encore

Music Editions. Westport, Conn: Hyperion Press, 1979.

Vallas, Léon, Maire O’Brien, and Grace O’Brien. Claude Debussy, His Life and Works. New

York: Dover Publications, 1973.

40

BIOGRAPHICAL SKETCH

JEFFREY MICHAEL BROOKS, CLARINET

A native of Washington State, Jeffery Brooks, who grew up in a family of musicians

discovered his passion for clarinet at the age of four, having his father as his primary teacher.

Throughout his musical career, Jeff has performed with numerous orchestras as a section

member or as principal clarinetist.

Currently based in Atlanta, Georgia, Jeff is a faculty member at Emory University,

teaching applied clarinet, adjunct clarinet professor at Morehouse College and instructor of

clarinet at Westminster schools. He has additional teaching experience at Florida State

University, Ohio University, Central Washington University and Walla Walla university.

In addition to being a passionate teacher, Jeff is an active orchestral player with the Atlanta

Symphony, Atlanta Ballet, Columbus Symphony, Augusta Symphony, Macon Symphony,

Savannah Philharmonic and the Charleston Symphony.

“Monsters of Clarinet” is Jeff’s newest project - an exciting pops show for clarinet, jazz

trio, and symphony orchestra. This program highlights the music of three “clarinet monsters”:

Benny Goodman, Artie Shaw, and Jeff Brooks. These clarinetists are known for their innovative

use of the instrument and substantial contributions to the ever-expanding clarinet repertory, both

in the jazz and western art genres. The world of clarinet music comes to life in this single

concert.

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