Abstract:
This thesis explores the impact that collaboration between clarinettists and composers has had on twentieth-century repertoire for the clarinet.
From Mozart's day to the present, friendship has been a cornerstone of the most influential collaborations. Historical examples, which I look at briefly, include: Anton Stadler and Mozart, Heinrich Baermann and Weber, Simon Hermstedt and Spohr, Richard Mühlfeld and Brahms and Aage Oxenvad and Carl Nielsen. In each of these cases it is unlikely the resulting works would have been written if not for a deep musical and personal relationship.
Looking back at the historical collaborations between players and composers, there is very little material on the exact relationship and how it impacted the repertoire. In contrast, examining the collaborative process as exemplified by living artists and composers provides concrete evidence about it.
Based on interviews conducted by the present author and other original research material, five case studies are presented of contemporary clarinettists, outlining their relationships with composers, along with an investigation of the genesis of the works written for them. I discuss their collaborations in some depth, demonstrating how the process has benefited the repertoire and technique of the clarinet. These particular players were chosen mainly due to their having worked closely with leading composers and because of the importance the resulting works have in the clarinet repertoire.
In a final chapter, I discuss my own commissioning of a work by New Zealand composer Gareth Farr in 1997. The result, Premonition, for solo clarinet, is analyzed from the viewpoint of both performer and composer.
I conclude that clarinet players have had a significant impact on composers with whom they collaborated, thereby extending the volume, range and innovativeness of the repertoire for the instrument.
