UNLV Retrospective Theses & Dissertations

1-1-2005

"Taras Bulba" by Leos Janacek: A *transcription for wind "Taras Bulba" by Leos Janacek: A *transcription for wind

symphony symphony

Beth Anne Lynch Duerden University of Nevada, Las Vegas

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UMI'

TARAS BULBA by LEOS JANACEK:

A TRANSCRIPTION FOR

WIND SYMPHONY

by

Beth Anne Lynch Duerden

Bachelor o f Music Education Indiana University, Bloomington

1977

Master of Music University o f Nevada, Las Vegas

1984

A document submitted in partial fulfillment of the requirements for the

Doctor o f Musical A rts Degree Department of Music College of Fine Arts

G raduate College University o f Nevada, Las Vegas

December 2005

UMI Number: 3215071

UMÏUMI Microform 3215871

Copyright 2006 by ProQ uest Information and Learning Company. All rights reserved. This microform edition Is protected against

unauthorized copying under Title 17, United S ta tes Code.

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Copyright by Beth Anne Lynch Duerden 2006 All Rights Reserved

u N iy Dissertation ApprovalThe Graduate College University of Nevada, Las Vegas

December 1 20

The Dissertation prepared by

Beth Anne Lynch Duerden

Entitled

TARAS BULBA by LËQS JANACEK:

A TRANSCRIPTION FOR WIND SYMPHONY

is approved in partial fulfillment of the requirements for the degree of

Doctor o f Musical Arts

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ABSTRACT

Taras Bulba by Leos Janacek: A Transcription for Wind Symphony

by

Beth Anne Lynch Duerden

Thomas G. Leslie, Examination Committee Chair Professor o f Music

University o f Nevada, Las Vegas

This document provides a transcription for wind symphony o f Taras Bulba:

Rhapsody fo r Orchestra by Leos Janacek, A brief historical background of Leos

Janacek is presented including the influence of Russophilism on many o f his musical

compositions, Nikolai Vasilievich Gogol’s novella is comparatively placed alongside the

programmatic storyline o f the rhapsody o f Taras Bulba upon which this piece is based.

Within this framework, differing views o f musical symbolism are elucidated. The

defense o f transcriptions, criteria for selection of pieces, and problems associated with the

transcription process are examined along with the techniques utilized in the solution o f

said problems within the context of this transcription.

nt

TABLE OF CONTENTS

ABSTRACT................................................................................................................................ üi

ACKNOWLEDGEMENTS......................................................................................................vi

CHAPTER 1 HISTORICAL BACKGROUND................................................................. 1Humble Beginnings................................................................................... 1Russophilism............................................................................................... 3

CHAPTER 2 TARAS BU LB A ...............................................................................................6Gogol’s Andrei................................................... 6Janacek’s A ndrei..................................... 7Gogol’s Ostap..................................................... 8Janacek’s Ostap................................... 9Gogol’s Taras Bulba and Prophecy...................................................................................10Janacek’s Taras Bulba and Prophecy............................................................................... 11

CHAPTER 3 TRANSCRIPTION PROCESS.................................................................. 13Need for Transcriptions...................................... 13Criteria...................................................................................................................................15Problem s..................................................................................... 15Solutions....................................................................................................................... 16

APPENDICESI Taras Bulba'. Wind Symphony Transcription Score (66 pages)...................in pocketII Original Orchestral Instrumentation Chart........................................................ 87III Wind Symphony Transcription Instrumentation Chart................................. 88IV Letter of Permission from Baerenreiter Music Corporation.....................................89

BIBLIOGRAPHY.....................................................................................................................90

VITA............................................................................................................................................93

IV

DEDICATION

I would like to dedicate this document to the memory o f my mother, Frances

Lynch. You passed on to me your love of books and music. You were not only my

mother; you were my example to follow and my best friend. You are sorely missed.

ACKNOWLEDGEMENTS

I have many people to thank that deserve my most heartfelt appreciation. I would first

like to thank Professor Thomas Leslie for allowing me the opportunity to strive for more

than what I thought I could attain and equipping me for the journey. To those that took

the journey with me: Steven Capaldo, Zane Douglass, Tracy Leslie and Clay Redfield; I

will be forever fa te fu l for your friendship. Thank you to Dr. Paul Seitz. In addition to

Professor Leslie, 1 would like to thank my other committee members Professor Anthony

LaBounty, Dr. Dean Gronemeier and Dr, Jeffrey Koep for your willingness to answer my

sometimes-inane questions. I would most o f all like to thank Professor Takayoshi Suzuki

for not only your incredible patience with me as you shaped me into a better conductor,

but for the example you set before me o f what every professor should be to his/her

students. You are one o f the most gifted conductors I have ever known, and yet you are

the most humble and caring. Thank you for allowing me to be your student.

The saying ‘T hat which does not kill you makes you stronger!” comes to mind when

thinking o f what my family has had to go through while I completed this degree. Thank

you Len, Nathan, Rachel and Anna for your patience. I hereby reinstate pizza and movie

nighti

Lastly, and most Importantly, I would like to thank my Lord and Savior .Tesus Christ

for all that You are and all that You do. Thank you for the mercy and kindness You have

shown me, and for allowing m e to “make a joyful noise” unto You.

vi

CHAPTER 1

HISTORICAL BACKGROUND

Humble Beginnings

On July 3, 1854, in the small village o f Hukvaldy, Moravia, one o f the best-known

composers o f Czech music was bom. Leo Eugen Janacek, later known as Leos, was the

tenth of fourteen children bom to Jiri and Amalie Janacek. Jiri was a schoolmaster at the

Hukvaldy School. This position provided a living and a place to live within the school

building itself. Because this building had been the “former icehouse o f the feudal

landlord, [it] was cold and damp,,."^ This would prove to be tragic for the Janacek family

because five o f their fourteen children would die followed later by their father Jiri, as

casualties o f the inhospitable conditions.^

At age eleven Leos was sent to the St. Augustin Abby in Brno. He proved to be a

talented chorister and not long after his arrival at the school was “taken under the wing”^

o f the choirmaster Pavel Krizkovsky. Ironically, Pavel had been

“taken under the wing” of Jiri Janacek “some thirty years before, when [Leos] Janacek’s father was teaching at Neplachovice, [and] a desperate young woman had brought to him her eleven-year-old illegitimate child and begged him to give the boy music lessons. Jiri Janacek, to his everlasting credit, did so.Living under his protection for a year, the pupil proved to be an excellent

* Svatava Pribanova, Leos Janacek: Life and Work, h ltp : /A vvvw .m /jn .c / /cn f’m /m /osnbn iis t i / l . f .h tm Ian Horsburgh, Leos Janacek (flew York: Charles Scribner’s Sons, 1982), 23. Fritz Spiegl, Lives, Wives and Loves o f the Great Composers, (New York: Marion

Boyars Publishers, 1997), 121.

I

musician, won a scholarship to a choir school and, after studying philosophy at Olomouc University, took Holy Orders. This same Pavel Krizkovsky was now entrusted with the care o f his teacher’s son. It was a debt well repaid, for the discipline and experience that Leos Janacek received over the next four years were crucial to his creative development.”^

After receiving his teaching diploma, he was accepted into the Skuhersky Organ

School in Prague where he condensed two years of study into one. He went on to study

at the Leipzig and Vienna conservatories.

It was in Brno where he began his profession as a music teacher. He founded an

organ school in 1881 that later merged with the Beseda Music School in 1919 to become

the Bmo Conservatory.

He served as the choirmaster o f the Svatopluk Guild and the Philharmonic Society o f

the Bmo Guilds Association. He also co-founded the Russian Circle and the Friends of

Art Club. Added to the list of musical positions that he held were conservator o f the

museum in Bmo and musical editor for the magazines Hudebni L isty and Moravian

Folia} He is most remembered for his operas and his development and use o f speech

melodies. His study o f the “distinctive shapes and melodies o f spoken Czech and the

way the variations in rhythm and pitch reveal a person’s inner life ...” was used in his

operas to better enhance the libretto.

During the time Janacek was a student, he earned money teaching private students.

One o f his young students, Zdenka Schulzova, captivated him not long after they met.

She was only fourteen and he twenty-five. They were married two years later on July 18,

1881. Sadly, from the honeymoon they both realized that the marriage had been a

Horsburgh, Leos Janacek, 25.Mbid* Mirka Zemanova, Janacek's Uncollected Essays on Music, (New York: Marion Boyars, 1989) X.

m istake/ This proved to be a pattern with Leos. There would be other women for whom

Janacek would become totally enthralled, to the inevitable demise o f his marriage.

Zdenka and Leos had two children during the next tumultuous years. Olga was bom in

1882 and died in 1903 at the age of twenty-one. Vladimir was bom in 1888 and died in

1890 at the age o f two and a half. It was during Olga’s failing health and eventual death

that Leos was composing what would become his first successful opera, Jenufa.

However, because o f differences with the director o f the Prague National Theatre, Jenufa

was premiered instead on January 21, 1904 in Bmo on a small budget. This was a very

difficult time for Leos because o f the death o f his daughter. The refusal to allow Jenufa

to be performed in Prague was an additional slap in his face.

It was twelve years later on May 26, 1916, thanks to help from friends Dr. Frantisek

Vesely, his wife Marie Calma Vesela, and the critic Karel Sipek ihaX Jenufa was finally

performed in Prague. * This belated acceptance outside o f Bmo proved to be the catalyst

for his recognition as a great opera composer.

Russophilism

"The work [Taras Bulba] is the composer’s contribution to the national fighting spirit

and beyond this, a token of his Russophilia; as strong Russia was to him a guarantee for

the [renaissance] o f a powerful Slav culture.”' Janacek had been anti-Austrian from the

Spiegl, Lives, Wives and Loves o f the Great Composers, 121.® John Tyrrell, Leos Janacek, 3: From "Jenufa" in Brno (1904) to 19J 7, lutn://uwvv.urovctmisic.coin/shait;d/vicws/ariiclc.htm[?scutiiuvmusic. 14122,3 ' Hans Hollander, Leos Janacek: His Life and Work, trans. Paul Hamburger, (London: John Calder, 1963) 178.

time he was a child. The Austro-Hungarian rule over Moravia and Bohemia would

generate his patriotism for the Czech and Russian people and the strong desire for

liberation for the Slavic people. Janacek had a substantial collection o f Russian literature

and the inspiration derived from Nikolai Gogol’s story of the Cossack Taras Bulba

provided Janacek with the impetus to turn the novella into the programmatic, three-

movement symphonic rhapsody entitled Taras Bulba,

The reason Janacek gave for choosing to write a symphonic rhapsody on the story

Taras Bulba was “Not because Taras Bulba killed his own son for betraying his people

(First Part), not for the martyr’s death of his second son (Second Part), but because ^there

is no fire nor suffering in the whole world which could break the strength o f the Russian

people’— for these words which fall onto the stinging fiery embers o f the pyre on which

Taras Bulba, the famous Cossack captain, was burned to death (Third Part), I have

composed this rhapsody according to the legend as written down by N.V. GogoL”

The piece was dedicated to “Our Army, the armed protector of our Nation” in 1924.

A letter that accompanied the dedication read in part, “In the Rhapsody o f 1915,1

rejoiced in a vision of our regiments in confrontation. In the year 1918, their hymn-like

motive rang out.. .and when I dedicate this my work to the forces protecting our nation, it

is because they protect not only the country’s lEuid, but also our entire world of thought,'^

’“John Tyrrell, Leos Janacek, 3: From "Jenufa" in Brno (1904) to Î9 1 7, luip://\vww.uroveinLisLc.coni/slnLrcd/views/arliclc.htnir-’scction-music. [4)22.3 ” JaroslavVogeL Leos Janacek: a Biography, ed. Karel Janovicky (New York: W.W. Norton & Company, 1981) 240.

Svatava Pribanova, K otazce vzniku Janackova Tarase Bulby [On the Question o f the Origin of Janacek’s Taras Bulba]. (Casopis moravske musea 59, 1964) 223-8, quoted in John Kevin Novak, “The programmatic orchestral works o f Leos Janacek: their style and their musical and extramusical content” (PhD diss., University of Texas at Austin, 1994) 284.

Taras Bulba was completed on Good Friday, March 29, 1918, and premiered on

October 9, 1921, at the National Theatre in Bmo under the baton of Frantisek Neumann,

The Czech Philharmonic Orchestra under the baton o f Vaclav Talich performed the

Prague premier on November 9, 1924, at Smetana Hall. “O f his symphonic works...the

rhapsody ‘Taras Bulba’ [is] the most beautiful legacy o f Janacek’s Russsophilism.” '

World War I further heightened this pro-Russia patriotism and influenced him to

compose the Violin Sonata. His operas Kat 'a Kabanova and From The House o f The

Dead are both derived from Russian literature. After the war, Janacek’s love of Russia

remained, but his Russophilism cooled because he did not support the new Bolshevik

government.

Svatava Pribanova, Leos Janacek: Life and Work, littn://w wvv.m yni.cyA num /m /o,sohiuisti/l.i .h im

CHAPTER 2

TARAS BULBA

Gogol’s Andrei

Nikolai Vasilievich Gogol wrote the novella “Taras Bulba” in 1842. It is the story of

a proud group o f Zaporozhe Cossacks. They were a warrior nation living in the Ukraine

in the valley of the Dneiper River. “The story is set in the 1620’s and describes actual

battles that occurred In Poland in 1628.”*'’ These people had a strong sense o f

brotherhood, allegiance to their Christian Orthodoxy, and patriotism to the Cossack

ideals.

The story begins with Taras greeting his sons on their return from the Royal Seminary

of Kiev where they had been for over a year. These young men had only been home a

short time when Taras is physically fighting with them. Their mother watches the whole

scene. She is referred to as “the pale, ugly, kindly mother.” * The status o f women in

that culture was nothing more than their usefulness. “Don’t listen to your mother, my

lad; she is a woman, and knows nothing.” '* A woman’s feelings apparently were

unimportant as well. The two young men, Andrei and Ostap, were only home a day

John Kevin Novak, “The programmatic orchestral works of Leos Janacek: their style and their musical and extramusical content” (PhD diss,. University o f Texas at Austin, 1994) 278.'^Nikolai Vasilievich Gogol, Taras Bulba and Other Tales, hUp://artluiiscius<iicnovcls.oom/tirthurs/short/Uirasl0.i\tm!

Ibid

when Taras decided that he and his sons should go off and join their fellow Cossacks at

the Setch, which was a village or camp where other Zaporozhian Cossack men would

congregate. Taras sees his wife’s tears and tells her, “A Cossack is not bom to run

around after w o m e n . T h i s inauspicious attitude sets up a contrast between Taras' view

o f women and Andrei’s love and sacrificial dedication to the woman he loved,

programmatically represented in the first movement o f Janacek’s Taras Bulba,

Andrei, while at the Royal Seminary, had met and fallen in love with a Polish girl.

W hen he, Ostap, and Taras leave the Setch to fight the Poles, he discovers that his love,

who happens to be the “daughter o f the enemy leader,” '® is in the town o f Dubno, the one

they have placed under seige. In the night, a woman surreptitiously comes to take Andrei

to his love (whose name is never mentioned in the novella) on the other side. He freely

goes, Eind as he reaches the city, he must pass through a church to reach her. While there,

he professes his love for her and chooses to not only defect from his own people, but also

to fight as a Pole against the Cossacks.

During a skirmish between these two armies, Taras spots his son bedecked in Polish

military garb. He catches up to him and demands that Andrei dismount. As a dutiful son,

Andrei obeys, and Taras shoots and kills him as he speaks the name o f his beloved.

Janacek’s Andrei

The events that are musically represented in the first movement. The Death o f Andrei,

come from the first nine chapters. Based on the titles o f each o f the movements, it is

Nikolm Vasilievich Gogol, Taras Bulba and Other Tates, l it lp://arthiirsL‘hissicnovcis.t:oin/urtlnLr.s/slini't /tarasl().lilnij.

Hans Hollander, Leos Janacek: His Life and Work, trans. Paul Hamburger, (London: John Calder, 1963) 178.

apparent that Janacek was presenting the emotions and conflicts pertaining to the three

main characters o f the story, especially in their deaths. “Janacek selected three

significant episodes whose basic theme[s] are heroic patriotism and self-negation.” " “As

in most of Janacek’s music, the opening motives are nuclear to the entire

composition...” * The first movement “begins with a description of the conflict in

Andrei’s heart between his vision of the beautiful girl [English horn solo dolce, con

dolore] and his fear o f being discovered.,, [agitated triplet figure, measures 15-22] while,

according to the composer’s own words, the distant sound o f the organ and the warning

bells express the prayers and anguish of the besieged [measures 22-46].”^' “Jaroslav

Vogel’s analysis is probably the most important source for the ‘decoding’ o f Taras Bulba,

because, as he says, it is based ‘partly on Gogol’s story, partly on the explanation which,

after a performance In Prague, I was able to prize out of the normally uncommunicative

composer h i m s e l f . T h e reunion of Andrei and the Polish girl is symbolized, again

according to Vogel, by the oboe solo beginning in measure 102.

Gogol’s Ostap

The second movement The Death o f Ostap picks up where the first movement ends.

This section comes from chapters 9-11. Here Ostap and Taras are looking at the lifeless

" Hans Hollander, Leos Janacek: His Life and Work, trans. Paul Hamburger, (London: John Calder, 1963) 178.

John Kevin Novak, “The programmatic orchestral works of Leos Janacek: their style and their musical and extramusical content” (PhD diss,. University o f Texas at Austin, 1994)291.

JaroslavVogel, Leos Janacek: a Biography, ed. Karel Janovicky (New York: W.W. Norton & Company, 1981) 240-1.

John Kevin Novak, “The programmatic orchestral works of Leos Janacek: their style and their musical and extramusical content” (PhD diss.. University of Texas at Austin, 1994)283.

8

body of Andrei as the Poles approach. Ostap is captured and taken to W arsaw as a

prisoner. Taras, while attempting to catch up to Ostap, is struck, and he collapses

unconscious. He is brought back to the Setch to heal. When he awakes he discovers that

all those with whom he had spent time and fought beside are now dead. He cries out for

his son, Ostap.

Taras sets out to find Ostap and eventually makes his way to Warsaw with the help of

a Jew named Yankel. Taras, disguised as a German count, enters the square where Ostap

is to be publicly executed. With great pride, Taras looks on, as Ostap is brutally tortured.

Throughout the torture, Ostap does not let out a sound. As the torture becomes more and

more horrific, Ostap cries out, “Father! Where are you? Do you hear?”^ Taras, from the

crowd yells back, “1 heart” "* and flees before he can be caught. Gogol states that the

continued torture and execution is so horrible that, “We will not pain the reader with a

picture of the hellish tortures which would make his hair rise upright on his head.”^

Therefore, we are not made aware of the type of death Ostap suffers.

Janacek’s Ostap

It is difficult to know exactly what Janacek is expressing in the beginning of the

second movement “because the musical representation o f the story is not always clear.” *

Vogel writes that this section of the piece relates to Ostap’s situation after having been

Nikolai Vasilievich Gogol, Taras Bulba and Other Tales, hit ri://arilui rsc lassicno vcis. cntn/artluLrs./sliort/laras 10. li 1 in I

Ibid IbidJohn Kevin Novak, "The programmatic orchestral works o f Leos Janacek: their style

and their musical and extramusical content” (PhD diss., University of Texas at Austin, 1994) 286.

taken prisoner. He believes that the opening is representative o f the sorrow Ostap feels

over the loss of his brother. In measure 126 there is a Polish dance in 3/8 called a mazur.

This dance is thought to symbolize victory. An Eb clarinet solo over a string tremolo is

thought to represent the call by Ostap for his father. “Janacek focuses the plot o f this

movement not on Taras, but on Ostap representing things that happened to him that are

not in the novella.”^ An example of this is the Polish mazur that is not spoken o f in

chapters 9-11. Taras’ reply to Ostap comes in measures 192-199 with the rhythmic

motive in the oboes and first violins. This motive is also found in the first movement in

measures 128-130,250-257, and 271-287 possibly symbolizing Taras before and after he

kills Andrei during the grand pause,

Gogol’s Taras Bulba and Prophecy

The third movement, The Prophecy and The Death o f Taras Bulba, centers on the last

chapter of the novella, chapter 12. The Cossacks now have split over some desiring to

sign a peace treaty with Poland and others keeping their allegiance to the Cossack ideals

and following Taras. Taras’ prophecy is revealed when he snaps a sword in two and

tosses each half far from the other and says that the two pieces will never reunite just as

these Cossacks will never again be together on earth. He tells them how the Poles will

not keep their part of the treaty and that these Cossacks will die at their hands. All that

Taras prophesizes comes to fruition. The entire group is killed, and the head o f the

“hetman”, or leader, is publicly displayed on a spear.

John Kevin Novak, “The programmatic orchestral works o f Leos Janacek: their style and their musical and extramusical content” (PhD diss.. University o f Texas at Austin, 1994)304.

10

Taras and his men go on a rampage from town to town in Poland leaving none alive.

They show no pity for the innocent as they kill men, women and children “raising the

children in the streets upon the points o f their lances, they cast them also into the

flames,” * Each town was destroyed as "a mass for the soul o f O s t a p , T a r a s

vociferates in each village. While he and his men are taking shelter in the ruins of a castle

by the Dneiper River, the Poles surround them.

After several days o f fighting, Taras and his men cut through and are almost away

when he stops to pick up his pipe and tobacco that has dropped. It is then that Taras is

captured. They chain and nail him to a tree in order to bum him to death publically. He

shouts to his men to take off to the river where Taras, from his high perch, can see ships

waiting for them. The Cossacks escape.

Taras prophesizes that a Russian Czar, to whom all will submit, will rise to power.

The story ends with the Cossacks getting away by boat, Taras being enveloped in flames,

and the rhetorical question presented, , .can any fire, flames, or power be found on

earth, which are capable of overpowering Russian strength?” *

Janacek's Taras Bulba and Prophecy

There is a great discrepancy in the analysis of the third movement, The Prophecy and

The Death o f Taras Bulba, in regards to the programmatic emphasis. Vogel believes that

this last movement begins with Taras already being burned. “We find him nailed to a

Nikolai Vasilievich Gogol, Taras Bulba and Other Tales, hUn://artluirsch)ssicnn\‘cls.C(>m/nrtliurs/s]iort/tamsl O.litml

IbidIbid

11

tree, pining for his lost freedom.,,"^' Novak differs believing that musically the fire

happens later, and that Janacek would not “begin the movement with the pyre which does

not occur until the penultimate page o f the novella.”^

The third movement musically represents the flames as Taras meets with death, as

well as the prophecy that the Russian people will soon have a great leader and that

nothing can quell the Russian spirit. The organ and bells return, but this time not as

prayers o f the Poles. It is more likely the final hymn for Taras and the new beginning for

the Russian people.

JaroslavVogeL Leos Janacek: a Biography, ed. Karel Janovicky (New York: W.W. Norton & Company, 1981) 242,

John Kevin Novak, “The programmatic orchestral works of Leos Janacek: their style and their musical and extramusical content” (PhD diss., University o f Texas at Austin, 1994)315.

12

CHAPTER 3

TRANSCRIPTION PROCESS

Need for Transcriptions

Transcriptions have been a viable way of expanding the wind band repertoire since the

1800’s. “Wilhelm Wleprecht (1802-1872), [a] celebrated leader o f military music in

Prussia... wrote transcriptions o f Mozart and Beethoven symphonies, classic and

Romantic era overtures, operatic excerpts, national airs, etc., [that] expanded the

nineteenth century band repertoire.”^ The Gilmore Band, named after its conductor

Patrick Sarsfield Gilmore, “expanded the band’s repertoire by adding transcriptions of

orchestra music by composers such as Beethoven, Mozart and Wagner.” '*

John Philip Sousa believed in entertaining his audience using a variety o f musical

styles. He created “programs featuring transcriptions o f orchestral works,”^ along with

music o f other styles. “Music found on band programs during the first quarter o f the

twentieth century consisted primarily o f transcriptions o f orchestral literature, opera

excerpts, light music (waltzes, polkas, patriotic and popular tunes, etc.), and o f course,

marches.” * This same programming continued throughout the first half o f the twentieth

Frank Battistî, The Winds o f Change, (Galesvllle: Meredith Music Publications, 2002)4." Ibid., 8." Ibid., 9.

Ibid., 13.

13

century for many bands. There was a great need for original music specifically

composed for the wind band, but little interest shown on the part o f many composers.

In 1958, 118 pieces were selected as the best pieces available for band performance by

thirty-one of the top band directors in the United States. This list was published in the

August, 1958, edition o f "The Instrumentalist.” “Of the 118 compositions selected, 67

(over 56%) were transcriptions.”^ Even into the mid 1960’s the majority of pieces

programmed were transcriptions. By the early 1970’s, the tide was turning, and band

directors were programming more original wind band pieces than transcriptions. This was

made possible by the increasing number o f pieces originally written for the wind band

medium. Gustav Holst and Percy Grainger had begun composing quality works for wind

band as early as 1902, and were soon followed by Charles Ives, Florent Schmitt, Igor

Stravinsky, Gordon Jacob, Ralph Vaughan Williams, Edgard Varese, Darius Milhaud,

Paul Hindemith, Arnold Schoenberg, Vincent Perstchetti, and Aaron Copland, just to

name a few.

With a plethora o f original wind band music now available, the question is presented:

should transcriptions continue on as important repertoire? Absolutely, the need for

orchestral transcriptions still remains for several reasons. Some composers did not write

for the wind band. In order to perform works by these composers, a transcription is

necessary. Also, in order to broaden the scope of styles made available to musicians for

pedagogy and performance, transcriptions of early orchestral works are needed. A good

example would be a transcribed piece from the early Baroque era that would provide

clarinets and saxophones an opportunity to perform ornaments.

Frank Battisti, The Winds o f Change, (Galesville: Meredith Music Publications, 2002) 63.

14

Critena

The criteria used in choosing a piece for transcription from orchestral to wind band

was basically threefold: does the piece utilize the winds as equal or dominating voices

compared to the strings; is the piece relatively unfamiliar; and most importantly, does this

piece o f music possess the quality that would translate into an excellent addition to the

wind band repertoire?

These questions were asked when deciding on Taras Bulba as a meritable option

Why was this piece a good choice for a transcription? Taras Bulba is not familiar to

many wind players and would remain so without a transcription. The winds are soloistic

and/or double the strings throughout the piece. In many places the strings are subordinate

to the winds. A small example o f equal or subordinating strings can be found in

measures 76-82, 102-120, 131-135, and 141-179 in the first movement. Overall, this is a

high quality composition with many emotive and dramatic sections throughout that

promulgates the winds and percussion.

Problems

The use o f wind timbre throughout the piece, especially solo and soli sections, was the

impetus to keep untouched as much o f the original orchestral wind parts as possible. This

decision created problems with similar timbres between the solo/soli sections and the

strings. With the addition o f several reeds, the string parts were reassigned using the

non-orchestral voices. The most difficult reassignments were regarding the string

tremolos and the tessitura of the first violin. The preferred sound for the solo violin was

15

the Eb clarinet because o f the expressive clarity. However, when the range became too

high, the piccolo became the most likely replacement. Additionally, the number of

instruments on a part for the strings versus one on a part for winds created balance

problems, and the replication of the sonic texture o f the string family created a

transcriptional dilemma, as well.

Solutions

Taras Bulba is in three movements and consists of 722 measures with a duration o f

approximately twenty-five minutes. Because o f the great amount o f music transcribed,

only certain problems and solutions will be presented.

String parts can include as many as six to ten instruments per part in an orchestra, and

the reassigned parts are winds that are only one on a part. Because o f this, in most

circumstances, the parts are doubled in order to get a fuller sound that resembles more

accurately the depth o f sound in the original. This was done routinely throughout all

three movements. All cello and string bass parts were retained because of their inclusion

in the vrind symphony instrumentation. The euphonium and tuba were used to double the

cello and string bass parts, respectively.

The first movement opens with an English horn solo over the full string section. The

English horn solo is retained in the transcription with the string parts being reassigned to

1*' and 2" flute, 1 -4*** clarinet, bass clarinet, and contrabass clarinet through measure 12.

The clarinet family and flutes were used here to replicate the ‘family’ sonority that is

presented in the original where the string family is used.

16

In measure 13, the Eb clarinet replaces the solo violin. Whenever possible, the Eb

clarinet was used for the solo violin. The sound is clear with a slight edge, which is

preferable to the more wistful timbre of the flute. When extreme range became a factor,

the part was moved to the piccolo. Some occurrences where piccolo was preferred were

as follows: in measures 86-89, 136-139, 175-200,226-236 in the first movement, and

measure 44 - 53 in the third movement. Each o f these passages would have taken the Eb

clarinet up to G7, which can be too shrill and squeaky as opposed to the more ethereal

sounding piccolo in the same register. This was especially effective when the part was

doubled in the oboe down an octave as in measures 44-53.

Predominantly, the 3" and 4* clarinets took the 1" violin parts, the 1®* and 2"" alto

saxophones took the 2"* violin parts, and the tenor saxophone and vibraphone took the

viola parts. This was done for two main reasons. First, the available instruments with

similar ranges and dynamic capabilities were the clarinets. Secondly, in order to get a

different color than clarinet, the addition o f saxophone on the other string parts allowed

an edgier sound with a wider range o f overtones. When range was a factor, the bass

clarinet or baritone saxophone took some o f the viola parts. The cello parts were most

often doubled in the bass clarinet, baritone saxophone and euphonium and the string bass

was doubled in the tuba and contrabass clarinet. The clarinet and saxophone families,

because o f their cohesive sound, were often used to replicate the string ‘family’ sound in

order to get a more uniform color. This timbre is apparent in measures 166-178 of the

third movement where the 3* and 4* clarinets, bass clarinet, 1" and 2"’* alto saxophones

and tenor saxophones are used to replicate the divlsi viola parts.

17

The vibraphone was used for the tremolo part in the viola beginning in measure 155 o f

the first movement. This kept the tremolo effect in a more controlled instrument. Flutter

tongue in the woodwinds was considered but ruled out because o f the control issues at

pianissimo, and the fatigue that would be a problem, especially for the reeds. Also,

beginning at measure 157, the similarity o f timbre with entering orchestral winds would

have caused them to blend with the flutter tonguing winds/strings. The vibraphone

provided a more blended background with the low brass and bassoons.

In measures 226-236 in the first movement, the violin tremolo was placed in the

xylophone. It was eliminated in the winds because o f the range and tonguing difficulty.

Instead, this was assigned to the piccolo without the tremolo. The part is also doubled in

the Eb clarinet an octave lower. Except for the xylophone, the rhythm pattern was

changed from repeated sixteenth note triplets to one sixteenth and one eighth note. This

made the tonguing possible for the Eb clarinet without sacrificing the pitches.

There are several places in the second movement where the strings are simply

doubling winds. This is seen in measures 35-39, 48-55, 64-81, 86-100, 102-109, 120-

125, 130-139, 144-149, 165-167. 171-187, 192-205 (end). The reassignment o f the

strings was easily placed in 3"* and 4* clarinet, soprano and alto saxophones, bass

clarinet, and tenor saxophone.

In the first ten measures o f the second movement, the solo strings were the only voices

that needed to be reassigned. The parts go down through the comparable range o f reeds

beginning in measure 2 with Eb clarinet for T‘ violin. This is followed by soprano

saxophone in measure 5 for the 2*“ violin, alto saxophone in measure 7 for the viola, and

tenor saxophone in measure 9 for the viola Using the saxophone family kept the timbre

18

similar throughout the various solo lines much as it did through the string family in the

original.

The tuba part was replaced with the bass trombone in this transcription in order to free

up the tuba to double the string bass. A case where doubling became rather formidable

was in the second movement in measures 31 -39 and 47-55. Here the string bass has

sixteenth note, ascending, octave leaps. The tuba cannot play ascending, tongued octave

leaps accurately for nine continuous measures. In order to get the octave leap in the

lower brass (this is also in the lower reeds, but is not difficult for them), the lower voice

was kept in the tuba as a tied pair o f sixteenth notes (beginning on the lEist sixteenth note

o f the fourth count), with a staccato on the second one (on the beat) for tapering, while

the higher octave (which happens on the beat) is played in the euphonium. The effect is

lower brass octave leaps without the difficulty.

In measure 86 o f the second movement it was necessary to add slurs in order for the

reeds to cleanly and evenly articulate all the notes as desired. The alto saxophone was

given three slurred groups of eight 32"*' notes for each beat. The I®' and 2"* alto

saxophones dovetail back and forth in order to avoid fatigue. This Is also doubled in the

vibraphone to give the passage a clean articulation.

There were only a few times when the original orchestral winds had to be changed to

improve the transcription. In measures 92-96 in the 3 movement, the 1 and 2™*

clarinets had dotted half notes against arpeggiated sixteenth notes in the strings. When

the string parts were reassigned, 3" and 4“* clarinet were given the violin parts, but the

texture was too heavy for the melody to predominate. The melody line from the 1 flute

and 1®’ oboe was doubled in the 2"'' flute and 2"‘‘ oboe, but that wasn’t enough. The

19

melody was then put into the 1®’ and 2"^ clarinets and the original clarinet I and 1! was

placed into the and 2"' alto saxophones. This gave the needed volume and depth o f

sound without drastically changing the woodwind timbre.

The preferred sound for the bell part throughout this piece would have been deep,

resonant church bells. Because most band programs do not have a set o f those handy,

chimes became the second choice. In order to give the bells a perceived deeper sound,

the tam-tam was employed to play on the lowest sounding part o f the instrument with

rubber xylophone mallets on each note of the chimes. Brake drums were considered, but

the pitches could not be guaranteed. Handbells were also considered, but would have

required too many percussionists.

The violin solo in measures 213-216 in the third movement was reassigned to the Eb

clarinet. This solo is also possible on 1®' flute as an optional voice because the texture is

thin enough for the flute sound to float over the other instruments. The piccolo was ruled

out because the range is too low.

In the last five measures o f the piece, the dynamic level is fortississimo for most of the

instruments. Balance was the most important factor here because nearly all o f the

orchestral wind instruments are already playing. Where only two horns were called for,

the other two doubled them. The English horn was given the 2"** violin part to the end.

The Eb clarinet was assigned the lower 1®' violin. The 3"* and 4'*' clarinets were given the

two upper 2"'* violin parts. The bass clarinet entered on the first count o f the cello part

and was joined on the third count by the tenor and baritone saxophones after the cello

part went back into bass clef. The alto saxophones doubled the viola.

20

The final desired sound was a rich, strong, resonant, low brass timbre. This was

accomplished by doubling the string bass in the tuba, bass trombone, and contrabass

clarinet. The trombones, bassoons and contrabassoon were already in with full, sustained

whole notes thickening the texture.

The success o f any piece o f music, be it transcription or original, is dependent upon

the musicians that perform i t The use o f transcriptions, In addition to original wind band

music, broadens the student’s awareness o f different performance styles and genres. It

provides a gateway to works by some o f the greatest composers. There should never be a

time when limits are placed upon the amplification of music from variant genres

especially as it relates to quality literature for the wind band.

21

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APPENDIX II

ORIGINAL ORCHESTRAL INSTRUMENTATION CHART

From Ê) 1980 Editio Supraphon Praha

Flute I & IIFlute III (doubles Piccolo)Oboe I & IIEnglish HornClarinet in EbClarinet in Bb I & IIBassoon I & IIContrabassoonHorns in F I-IVTrumpet in C I IIITrombone I-lIITubaTimpaniTriangleSnare DrumCymbalBells in Cb, C, Db, DHarpOrganViolin I & IIViolaCelloContrabass

87

APPENDIX III

WIND SYMPHONY TRANSCRIPTION

INSTRUMENTATION CHART

l*'and2"^ Flute3" Flute (doubles Piccolo)1" and 2""* Oboe English Horn Eb Clarinet l “‘ -4 thB b Clarinet Bass Clarinet Contrabass Clarinet Soprano Saxophone I®* and 2"*' Alto Saxophone Tenor Saxophone Baritone Saxophone 1®* and 2”'* Bassoon Contrabassoon 1®'- 4'*’ Horns in F 1®' - 3"* Bb Trumpetjst _ jrd YrojuboneBass TromboneEuphoniumTubaTimpaniTriangleSnare DrumCymbalBells (Chimes) in Cb, C, Db, DTam-tamVibraphoneXylophoneHarpOrganCelloDouble Bass

88

APPENDIX IV

Bàrenreitera . B ae ren fu i te r Mu^it C o r p o i a l i o n u s ijhih>

12A K i r f l V r e e l , t . i H | t c w o n H , N r * l r l % p y O f b . î l I H p p h n r i f : J B Q B 1 . 1 . J O I . / Ü J J

Fobruary 17 , 2 0 0 5

Ms. Bath Duerdan 4908 Whiapur Lake Ave.LasVeyas , NV 09131

D e a r Beth D u e r d e n :

It is o u r u n d e r s t a n d i n g th a t , in par tial fulfillment of you r Ph.D. d i sser t a t i on ent i t led "TARAS BULBA by Leos J a n a cek : A Transcript ion for Wind Sym phony" , you wish to m a k e a t r a n s c r i p t i o n for sy m p h o n ic winds of TARAS BULBA; to p r e p a re pe i fo r m a i i t e m a te r i a l ( s c o r e a n d p a r t s ) of sa id t ranscr ipt ion; and to give a publ ic per fo rm anc e t h e r e o f a t t h e Un iver s i ty o f N evada , Las Vegas before th e end ol 2005.

We f u r t h e r u n d e r s t a n d an d you a g r e e that

1) all s c o r e s a n d p a r t s p r e p a r e d for t h e per formance shall be t h e proper ty of Tddm B a e r e n r c l t e r P r a h a a n d will be r e tu r n e d to this office n o t later t h an four teen (14 ) d a y s a f t e r t h e p e r f o r m a n c e ;

2) Editio B a e r c n r e l t e r Praha shal l have sole opt ion to a ccep t th e t ranscr ip t ion .it i t s disc re t i on , a n d w ould m a k e th e cu s to m ary contrac t with you, should it decide to p u b l i s h s a m e ;

3) n c a s s e t t e or CD of you r p e r fo rm an c e will be filed with this olficu not la ter th an 3 0 d a y s fol lowing t h e p e r fo rm a n c e ;

4 ) t h e e x a c t co p y r ig h t not ice a p p e a r in g on the publ ished score of TARAS BULBA will b e im p r in te d o n all co p ies of s c o r e and pa r ts prepared by you, fol lowed by t h e w o rd s "T ran sc r ip t i o n for s y m p h o n ic winds © 2005 by Beth Duerden. "

No c h a r g e will be m a d e for this non-exclus lvc use.

We w a r r a n t t h a t w e h a v e th e r ight to i ssue this l icense, which l icense conta ins the e n t i r e a g r e e m e n t b e t w e e n an d a m o n g the par ties. P lease sign b o th copies hereof a n d r e t u r n t h e m to u s . A fully e x e c u t e d ag r eem e n t will b e re tu rned to you for your f i les .

Seorgc Stu rmACCEPTED AND AGREED:

g e o r g e Stu rm

Beth D u e r d e n

89

BIBLIOGRAPHY

Acord, Thomas Wadsworth. Àn Examination ofLeos Janecek’s Compositions fo r Solo Voice and Piano. DMA diss.. University of Texas at Austin, 1981.

Adler, Samuel. The Study o f Orchestration. 3"^ ed. New York: W. W.Norton and Company, Inc., 2002.

Battisti, Frank L. The Winds o f Change: The Evolution o f the Contemporary American Wind Band/Ensemble and Its Conductor. Galesville: Meredith Music Publications, 2002.

Beckerman, Michael, ed. Janacek and His World, Princeton: Princeton University Press, 2003.

Beckerman, Michael. Janacek as Theorist. New York: Pendragon Press, 1994.

Beckerman, Michael and Glen Bauer. Janacek and Czech Music: Proceedings o f the International Conference (Saint Louis, 1988). New York: Pendragon Press, 1995.

Bennett, Robert Russell. Instrumentally Speaking. New York: Belwin-Mills Publishers 1975.

Bersch, Kirsten. First String Quartet (Kreutzer Sonata) By Leos Janacek. MA thesis, California State University, Fullerton, 2002.

Blatter, Alfred. Instrumentation and Orchestration. New York: Schirmer Books. 1997.

Bojanowska, Edyta Magdalena. Nikolai Gogol: Between Ukrainian and Russian Naiionali.sm. PhD diss., Howard University, 2002.

Camphouse, Mark. Composers on Composing fo r Band. Chicago: 01A Publications, Inc., 2002,

Capaldo, Steven John. King Arthur by Benjamin Britten: A Transcription fo r Wind Orchestra with Accompanying Historical Context and Transcription Techniques.DMA diss.. University of Nevada, Las Vegas, 2004.

Cooper, Constance. Janacek's Techniques o f Unification in the Mature Operas. PhD diss., Princeton University, 2003.

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Dasilva, Fabio B. and David L. Brunsma, ed. A ll Music: Essays on the Hermeneutics o f Music. BrookHeld; Athenaeum Press, Ltd., 1996.

Davison, Peter, ed. Reviving the Muse: Essays on Music After Modernism. Great Britain: Claridge Press Ltd., 2001.

Douglass, Zane Stephen. Cinq Etudes-Tableaux by Serge Rachmaninoff; Orchestrated by Ottorino Respighi; A Transcription fo r Wind Orchestra With Accompanying Historical Context and Transcription Techniques. DMA diss.. University o f Nevada, Las Vegas, 2005.

Evans, Edwin. How to Write fo r Strings: Method o f Instrumentation, v o il , London: The New Temple Press, 1967.

Evans, Edwin. How to Write fo r Wood, Brass and Drums: Method o f Instrumentation, vol. 3, London; The New Temple Press, 1967.

Hollander, Hans. Leos Janacek: His Life and Work. Translated by Paul Hamburger. London: John Calder, 1963.

Horsbrugh, Ian. Leos Janacek. New York: Charles Scribner’s Sons, 1982.

Janacek, Leos. Taras Bulba Rapsodia Per Orchestra Partitura. Edizione Secondo II Complesso Critico. Jarmil Burghauser and Jan Hanus ed. Kassel-Basel-London: Editio Supraphon Praha and Baerenreiter, 1980,

Kalil, Mary Helena. Reports From Offstage: Representations o f Slavic History in Russian and Czech Opera, PhD diss., Princeton University, 2002.

Kennan, Kent and Donald Grantham. The Technique o f Orchestration. Upper Saddler River, N.J.: Prentice-Hall, Inc., 1997.

Kim, Suk-Young. in Nikolai Gogol's Ukrainian Stories. PhD diss.. Universityof Illinois at Chicago, 2001.

MacDonald, Hugh. Berlioz's Orchestration Treatise: A Translation and Commentary. New York: Cambridge University Press, 2002.

Novak, John Kevin. The Programmatic Orchestral Works o f Leos Janacek: Their Style and Their Musical and Extramusical Content, PhD diss.. University of Texas at Austin, 1994.

Prcik, Ladislav. Stylistic Evolution ofLeos Janacek's Lesser-Known Compositions fo r Violin. DMA diss., Arizona State University, 1996.

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Read, Gardner, Orchestral Combinations: The Science and Art o f Instrumental Tone- Color. Lanham, Md; Scarecrow Press, Inc., 2004

Rockley, Collette Jeanine, Guidelines fo r Effective Transcription fo r Wind Band; An Analysis o f the Orchestration Techniques Used in Keith Wilson’s Transcription o f Hindemith's Metamorphosis. DMA diss. University of Arizona, 1997.

Slonimsky, Nicolas. “Janacek,Leos”. Baker's Biog'aphical Dictionary o f Musicians. New York: Schinner Books, 2001.

Spiegl, Fritz. Lives, Wives and Loves o f the Great Composers. New York: Marion Boyars, 1997.

Susskind, Charles. Janacek and Brod. New Haven: Yale University Press, 1985.

Tausky, Yilem and Margaret Tausky.ed. Janacek: Leaves From His Life. New York: Taplinger Publishing Company, 1982,

Tyrrell, John. ed. and trans. Intimate Letters: Leos Janacek to Kamila Stosslova. Princeton: Princeton University Press 1994.

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Tyrrell, John. ed. and trans. My Life With Janacek: The Memoirs ofZdenka Janackova, Boston: Faber and Faver, 1998.

Vogel, Jaroslav. Leos Janacek revised and edited by Karel Janovicky. New York; W. W. Norton and Company, 1981.

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VITA

Graduate College University o f Nevada, Las Vegas

Beth Anne Lynch Duerden

Home Address:4908 Whisper Lake Avenue Las Vegas, Nevada 89131

Degrees:Bachelor o f Music Education, 1977 Indiana University, Bloomington

Master o f Music, Music Education, 1984 University o f Nevada, Las Vegas

Dissertation Title: Taras Bulba by Leos Janacek: A Transcription for Wind Symphony

Dissertation Examination Committee:Chairperson Professor Thomas Leslie, M.S.Committee Member Professor Dean Gronemeier, D.M.A., J.D.Committee Member Dean Jeffrey Koep, Ph.D.Committee Member Professor Anthony LaBounty, M.S.Committee Member Professor Takayoshi Suzuki, B.M,

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