San Fernando V.tlley State College
GlADUA'l'Jl UCITAL IN CLARINET
An artistic per.fontante presented in partial
satisfa~tiou
of the requirement• for the degree
of Master of Arts in Mueic
Joseph Elliot Diamond
;
. I
r··
I
su .. Fernando Valle;.' State Coller,e
June, 19r... 9
r "·· --
·--~· ~_....... ·~-
---·
.
·--·~·--··-·~·· ·-----~-~--~---~~-+·-----·""'·~-~-
.
-~---~--·
-··~· --~-~- ~--
~----·-~-u··-·-------·--·
---· __,_.,_
··~-···~~ -~·-· "~"'·-~----
'.
I
I
In selecting the BBBical compositions to be performed for the
jHaater's ttecttal. the prtsury concern vas to Belect uterial which was
I
isood liteTature and, at the ._. time, not freqvaatly performed. The
I
II
only e;:ception to thla criteria was the Brat.. • Firat Clarf,net Sonata.
Tbia work is tacludecl in the staat.lard repertoire for the clarinet and,
I
!coneequeutly, is studied and performed by at.et every clarinetiet.
I
l'l'be Jiltndemtth sonata, atmllarly, ts steadUy 'becCII'BiD.I a llteDdard work
lI
/for the clarf.Qet.
I
ii
Another conaiderat:l.on which aea'U11'1114 a d0111tnant role in the
!program selection wa a balanced program.
&awing that a
important
I
icharacteristte of a balanced proaram is varlety, it was decided to
I11uclude
uuccQ~~~~p&n:led
an
p:teee on the prograa.
Ia ehoostaa the
!UMccompenied piece, after the ee1ect1on had beea narrO!iled. down to two
I
1
worb, the Miklos Rossa uucccapanted. piece wa. chosen over tbe
,Stravinsky 'l'hree P&eces ,f,ar
Clar~t
for two rauone:
(1) The Mlkloa
Jaoasa Soaati.Ba for Clarlaet is perfOR*I .ueh leas often than the
I
lstravtaaky work; (2) 1b.e Miklos lloaaa work offers advanee4 eo:plot•
I
!tat ion
I
of the elutnet' • technical capabtlitiea.
Vttb the emphaata still on balaDCed proaraantng, the final two
Jvorks for the progr• were choeea.
I
The Pouleac C1ar1aet
Soutt b • tn
i
1effeot, a light. h1.11i10roua, whbu1ca1 piece which displays both thfl
jtyrlcal and technical facility of the clarinet.
lJf.n contrat
I
The Binderatth SODAS!•
to the Jtomallttc style of the lrab• sooata 1 provides the
II U.atener with
a twentieth century ex.-ple of sonata fortll..
The ttme
I
!difference between these tvo works, additionally, affords the listener
t. '
__ ,,,,, __ ,______ ,,~---- . -·"''-'' -
a comparison of stylistic tendencies.
In formulating a program of an/ t)'pa, some amount of consideration
must
~.~a
given to the order of performance of the compositions.
Generally, program arrangement is set in chronological sequence.
In
the case of this particular program, however, special consideration
was given to endurance.
It was determined that the Brahms and Rozsa
works demanded the most physical endurance and, consequently, these
:works were progratlll1led accordingly, that is, the Brahms sonata begins
l
'
I
, the recital and the Rozsa Sonatina (unaccompanied) occurs following
'intermission.
The other two compositions, then, assume a natural
place.
The value of the Master's Recital to me can be identified as
follws:
(1) An increased awareness of the literature for the
clarinet; (2) An increased knowledge and technical growth of the
clarinet itself; (3) An increased total musical insight.
SAN FERNANDO VALLEY STATE COLLEGE MUSIC DEPARTMENT
presents
assisted by Maro Donabedian, Piano
Sunday, May 25, 1969
Choir Room
2 p.m.
-PROGRAM-
SONATA FOR CLARINET AND PIANO, F MINOR,
OPUS 120 ·-·-···-·························································-··JOHANNES BRAHMS
(1833-1897)
Allegro appassionata
Andante un poco adagio
Allegretto grazioso
Vivace
SONATA FOR CLARINET AND PIANO ................................. FRANCIS POULENC
( 1895-1963)
Allegro Tristamente
Romanza
Allegro con fuoco
-INTERMISSION-
SONATINA FOR CLARINET SOLO, OPUS 27 .................................. MIKLOS ROZSA
(1907)
Tema con variazioni
Vivo e giocoso
SONATE FUR KLARINETTE ............................................•........... PAUL HINDEMITH
(1899-1963)
Maessig bewegt
Lebhaft
Sehr Iangsam
Kleines Rondo, gemachlich
•1n partial fulfillment of the requirements
for the Master of Arts degree