taras bulba' by leos janacek: a *transcription for wind
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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
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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.
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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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