SELECTED REPERTOIRE OF THE GILLET COMPETITION FROM 1996 TO 2006

There are many bassoon competitions around the world- and one of the most famous is the Gillet competition, sponsored by the International Double Reed Society. In 1981, it was established as an annual event, the "Femand Gillet Bassoon Competition"- a title expanded in 2000 to the "Femand Gillet-Hugo Fox Bassoon Competition." My goal was to explore the history of the competition, the availability of the repertoire selected for each competition, and the difficulties performing each piece. Through this journey, I was able to discover the variety of material chosen and how it was used, the quality, value, and the importance of the repertoire in each competition. For example, Ferdinand David's Concertino op.12, the style of the piece provides romantic, operatic type lyricism, a flashy presto section and finale, makes it as a standard romantic piece in the bassoon repertoire; Otmar Nussio's Variations on an Air by Pergolesi, contains a slow theme and few diverse variations, which provides a contemporary style music with the traditional music form and descriptive quality. The result of learning this repertoire proves that different styles of music in the competition demonstrate the artistry of the bassoon repertoire and music history in relationship of the development of the instrument. My first dissertation recital featured: Concerto for Bassoon, K. 191 by Wolfgang Amadeus Mozart; Concertino by Marcel Bitsch; Metamorphoses by Leslie Bassett; and Sonatine by Alexandre Tansman. My second recital featured: Concerto in E minor, RV 484 by Antonio Vivaldi; On the Summer Map of Stars by Gordon Kerry; Concertino Opus12 by Ferdinand David; Elegie by Jacques Hetu; and Interferences by Roger Boutry. My third recital featured: Cello Suite No.2 in D minor, BWV1008 by Johann Sebastian Bach; Combinaciones: Sonatina para Fagot y Piano by Salvador Ranieri; Andante e Rondo Ungarese Opus 35 by Carl Maria von Weber; and Variations on an Air by Pergolesi for Bassoon and Piano by Otmar Nussio.

Selected Piano Works by Schumann, Liszt, and Brahms Incorporating or Based on Pre-existing Music

This dissertation shows how Schumann, Liszt and Brahms composed piano works based in a variety of ways on other music that already existed. My idea to do this project came through my fascination with Brahms’s Variations on a Theme by Paganini, which was the first piece selected. Brahms composed six sets of variations for solo piano, and I also chose Variations and Fugue on a Theme by Handel. Besides the variations, I included Brahms’s Ballade in D minor, Op. 10 No. 1, based on the Scottish ballad “Edward”. This piece demonstrates that Brahms applied pre-existing music not only in the form of variations, but also in other genres. Among Romantic composers, Schumann and Liszt are two others besides Brahms whose music frequently quotes pre-existing materials. In Schumann’s output, the inspiration from Clara Wieck is significant. The best examples may be the Impromptus Op. 5 and the third movement of the Grand Sonata No. 3, Op. 14, in which Schumann quotes the music by Clara Wieck as the theme of the variations and in the other movements as well to unify the entire piece. In addition, Schumann quotes the old German folk song “Grossvater Tanz” (Grandfather Dance) in the finale of Papillons. The same tune also appears in Carnaval for a programmatic purpose. These two pieces are a clear illustration that Schumann applies pre-existing music, and in addition they represent the spirit of literary reference. Liszt is well known for his superb transformations of other composers’ works into glorious piano compositions. Liszt drew his inspirations from different genres, including both vocal and instrumental music. His ability to turn earlier musical materials into virtuosic solo piano pieces that demonstrate his brilliance in creating imaginative keyboard sounds is remarkable. Among those pieces composed by Liszt, terms such paraphrase, reminiscence, or fantasy frequently appear as titles. I selected two such pieces: Rigoletto: Paraphrase de concert, S. 434 and Rondeau fantastique sur un thème espagnol, S. 252. In addition, Liszt also uses variation form to explore the possibilities of pre-existing themes. The piece I chose to represent this is Variations on the Theme “Weinen, Klagen, Sorgen, Zagen” and Crucifixus from the Mass in B minor by J.S Bach, S.180. This dissertation comprises three piano recitals that were performed in 2010 and 2011 in Ulrich Recital Hall and Gildenhorn Recital Hall of the Clarice Smith Performing Arts Center of the University of Maryland. The recordings are documented on compact discs that are housed within the University of Maryland Library System.