Means1

IgorStravinskyoncestatedIaminthepresent.Icannotknowwhattomorrowwillbring forth(Griffiths,157).Twentiethcenturymusicisknownforpushingtheboundariesofwhatmusiccan belikeStravinsky,itlivedinthepresentanddidnotknowwhatwouldoccurintheyearstocome.As thecenturyturned,composersofmusicbegantothinkofmusicinmanydifferentfashions:somethought ofmusicasallofthesoundaroundthem,othersbelievedthatmusicshouldomittheexpressiveness comingfromtheperformer.Theideascomingfromcomposersofthecenturywereradical,rapidly shifting,andchangedthewaytheworldthoughtaboutmusicasawhole.Oneparticularhighlightof twentiethcenturymusicischambermusic.Composersbegantoexplorenewensembleideasaswellas theroleofeachinstrumentinthechamberensemble.Theclarinet,whichwasprimarilyusedinan orchestralsettinginthenineteenthcentury,begantobeusedinasmallerchambersettinghowever,the settingswerenotjustlimitedtowoodwindquintets.Manycomposersusedtheclarinetinchamber settingslikeithadneverbeenusedbefore.IgorStravinsky,PaulHindemith,andLucianoBerio composedtwentiethcenturychamberworksfeaturingtheclarinetwhichusedtheclarinetindifferent ways. IgorStravinskywasborninRussiain1882toparentsFyodorandAnna.Asachild, StravinskywassurroundedbymusichisfatherwasaprominentoperasingerinSt.Petersburg.He washomeschooledasachildandtookpianolessonsaspartofhiseducation,whichwasacommon practice.Stravinskyspianoskillsdevelopedquicklyhewasrathertalentedatsightreading.His repertoireofmusicwaslargebecauseofhisfathersoperascoresthereweremanyinhishouseholdas hegrewup(Griffiths,6).Intheyear1900,whenStravinskycametotheageofeighteen,hismusical intereststurnedfrompianotocomposition.However,insteadofpursuingcompositionashispreferred fieldofstudy,StravinskychosetostudyprelawatSt.PetersburgUniversity,andhecontinuedto sharpenhismusicalskillsbycontinuinghisstudiesofcounterpointandtheoryontheside. Whilestudyinglaw,StravinskymettheyoungestsonofRomanticcomposerNikolai RimskyKorsakov.AndreyandStravinskyquicklybecamefriends,whichledtoStravinskymeeting Nikolaiatagathering.WhenStravinskymentionedhiscompositions,NikolaiagreedtotrainStravinsky incomposition(Walsh,4).NikolaiobservedandworkedwithStravinskyonhiscompositions,and urgedhimtobringcompositiontoamorecentralplaceinhislife.In1902,Stravinskybeganhis

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compositionalstudieswithRimskyKorsakovwhilecontinuingtostudyprelawatSt.Petersburg University.RimskyKorsakovadvisedhispupilagainstenteringtheConservatoryattheUniversitydue tohislackofprevioustraining(Walsh,5).StravinskyrespectedRimskyKorsakovverymuch,but foundhisowncompositionalstyletobedifferentthanthatofRimskyKorsakov(Griffiths,11). StravinskyfrequentlyattendedEveningsofContemporaryMusic,whichwereheldtopremierenew piecesthatshiftedtheideasofwhatmusiccouldbe.Stravinskyfoundtheseeveningstobevery stimulating,andbegantocomposeworkswiththesenewideasinmind(Walsh,6).Thepremiersofhis earlierworkswerewellreceivedwithinthepublicsetting,butthepressreportingontheseworkswere split:halffavouredtheworksStravinskywascreating,andtheotherhalfbelievedthatStravinskywas verycreative,butthepieceswerenotpleasingtotheear(Walsh,6).Stravinskybecamealargername whenhepartneredwithSergeiDiaghilevandtheBalletRusseofParistopremierehisfirstballet,The FirebirdSuite. WhileresidinginRussiabetween1882and1920,Stravinskycomposedthreelargeballetsfor theBalletRusse:TheFirebirdSuite,Petrushka,andTheRiteofSpring.Whilethesethreeworks wereallpremieredbythesameballetcompany,theywerequitedifferentfromoneanother.Afterthe premiereofTheRiteofSpring,StravinskywasknownthroughoutParisforbeingacomposerwho waspushingthelimitsofmusiconeexampleofthiswashisuseofPrimitivismintherhythmicdriveof thepiece(Griffiths,31).PrimitivismwasareactiontotheoverrefinementofFrenchImpressionist composerssuchasRavelandDebussy.WhiletheImpressionistsfavoredtheuseofavarietyoftimbral effectswithintheorchestra,Primitivismfocusedononecleartonalcenterpresentedinanostinato pattern.Thispatternwasplayedwithlargeblocksofinstrumentationatonetimeinamarcatostyleand wasverypercussiveinitsperformance(Machlis,86).DuringWorldWarOne,theBalletRussewas notrunning,andStravinskyturnedtotheuseofthechamberensembleasamedium.Twoimportant worksduringthistimeincludeTheWeddingin1914andTheSoldiersTalein1918.In1920, StravinskyandhisfamilylefthishomelandofRussiatoresideinParis,whichwasthemusicalcenterin theearlytwentiethcentury.ItwasinParisthatStravinskyturnedtotheneoclassicalstyle(Walsh,10). Thisstylewasepitomizedbyusingclassicalformsaswellastextural,rhythmicandmelodicconcepts fromtheclassicalperiodinthetwentiethcentury.OneexampleofthiswasStravinskysPulcinella Suite,whichhecompletedin1920.

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DuringWorldWarOne,Stravinskybegantoincorporatesomejazztechniquesintohisworks, especiallyhischambermusic.Hisuseofchamberensembleswastomirrorwhathehadseenandheard whenjazzwasfirstintroducedtohim.Thesmallerensemblesanddistinctsoundsdrivenbyrhythmtied intoStravinskysideasinmanyofhisballets,especiallyTheRiteofSpring.Stravinskycomposed smalljazzworksincludingRagtimeforeleveninstrumentsandPianoRagMusicandincorporatedjazz intoamovementofTheSoldiersTaleentitledRagtime(Mellers,2930).Intheyear1939,Stravinsky movedfromParistoLosAngeles,CaliforniathismoveoccurredtoavoidtheoutbreakofWorldWar TwoinEurope.WhileresidingintheUnitedStates,Stravinskywasabletoexperiencemoreofjazz thanhecouldwhileresidinginParis.HereceivedacommissionfromclarinetistWoodyHermanandhis orchestra.Hewroteapiecewiththefastslowfastmovementformthatcantraditionallybefoundin manyBaroqueandClassicalconcertiandconcertigrossithispiecebecameknownastheEbony Concerto.StravinskysEbonyConcertowasfirstperformedbytheWoodyHermanOrchestraon March25,1946.Thestyleofjazzmusicinthe1940sshiftedfrompopularmusictomusicthattrained musicianscouldperform.TheEbonyConcertoisjustoneexampleofhowjazzmusicbecamemusic thatwaschallengingtoitsplayers.Thenewerideasinjazzmusicwerelessaboutbeingabletodanceto themusicrather,theywereaboutbeingpiecesthatcouldbelistenedto.Jazzmusicofthe1940s becameincreasinglydissonantandchromatic,andStravinskyincorporatedtheseideasinhisEbony Concerto(Craft,53). Theconcertoisinthreemovements,andisscoredforjazzbandwithasoloclarinetline. Stravinskyincorporatesbothorchestralandjazzelementswithinhisinstrumentationforexample,the frenchhornandharparenottraditionallyknownasinstrumentsincludedinajazzband,butStravinsky writesforbothintheconcerto.ThismatcheswithStravinskyscompositionalstylehewasalways lookingforopportunitiestocreatenewthingsandpushpasttheboundariesofwhatmusiccouldbe considered.Thissettingofajazzbandcombinesthetraditionaljazzbandwithamoremodern approach.AlthoughthepiecefeaturesasoloBbclarinet,theclarinetactsmoreasaconcertogrosso soloist,whichtiesintoStravinskysneoclassicism.Theconcertogrosso,aclassicalformusedprimarily betweentheyears1680and1720,alternatesgroupsofsoloinstrumentswiththemainbodyofthe orchestra,whileasoloconcertofeaturesonlyonesoloinstrumentwhichplaysagainstthe accompaniment(Wold,2).Thefirstmovementbeginsatanallegromoderatowithunisonrhythminthe

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trumpets,whichcontinueslaterinthesaxophonefamily.Theintervalsbetweenthepartsaresmall,the openingchordcontainsfivepartswithanoctaverangefromlowesttohighest.Allfivepartscontainthe samearticulationthatsamearticulationandrhythmicpatterntransfersovertothesaxophonesafterfour measures.Thetrumpetscreatemanytimbraleffectsthroughtheuseofmutes:inthismovementthe playersuseahat,aharmonmute,andanopenbellthefrenchhornalsocreatestimbraleffectswith mutingthesoundwiththehandinsidethebell(Stravinskyscore,mm9). Throughoutthefirstmovement,thesoloclarinetplaysintwentyeightpercentofthemovement. Itisnotintroducedasasoloinstrumentuntilmeasurefortythreeofthepiece.Thelengthofthe introductionandclosingaresimilartotheBaroqueconcertogrosso,whichcontainedsectionsof orchestraalternatingwithsectionsofsoloandorchestraaccompaniment.Thesoloclarinethaslonger notevaluesthantheaccompanimentunderneathitwhenthefirstentranceismade.Theonlyother instrumentplayingvaluessimilartotheclarinetcomesfromacountermelodylineinthefirsttrombone. Thelyricismoftheclarinetinitsfirstentranceiscontrastedwiththerhythmiccomponentsofthesecond entrance.Stravinskygivesthesoloclarinetlittleaccompanimentwithinthissectionwhen accompanimentdoesoccur,itmatchestherhythmofclarinetwithstaccatomarkings(Stravinskyscore, mm36).Bothsectionsoftheclarinetsolointhismovementhavelargermelodicleapsthatspanover manyregistersoftheinstrument.Oncethesoloclarinetlineexits,Stravinskyusessimilarrhythmic conceptswithintherestoftheensemble.Hewrotecantibleforthefirsttrumpetandbaritone saxophonetoplayoverstaccatoaccompanimentthismimicswhatthesoloclarinetandfirsttrombone previouslystated.Themovementendssimilarlytohowitstartedintermsofinstrumentation.Thelast threemeasuresareplayedbyonlytrumpets,withonlyanoctavebetweenthelowestandhighestnotes. Stravinskycreatessymmetrywithinthemovementwithhisrepetitionofrhythmicandtimbralideas. WhileStravinskycreatednewclarinetrepertoireinAmerica,PaulHindemithmadehisown compositionalmarkinGermany.HindemithisconsideredthemostprominentGermancomposerofthe beginninghalfofthetwentiethcentury.Bornin1893,Hindemithbeganlearningtheviolinatagenine. Hisfather,Robert,pushedhischildrentolearnmusicalinstrumentstosubstituteforhisownmusical shortcomings.Paulrecalledlaterinlifethathefeltagreatsenseofdutywheremusicwasconcerned youngerinhislifethechildrenofRobertinitiallywereveryreluctanttoplaytheirinstrumentsandcreate music(Skeleton,30).Paul,alongwithhisbrotherandsister,playedconcertsfromaveryyoungage

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withtheguidanceoftheirfather.TheywerereferredtoastheFrankfurtChildrensTrioPaulplayed theviolin,hissisterToniplayedthepiano,andhisbrotherRudolfplayedcello(Schubert,2). HindemithbeganstudyingwithAnnaHegner,aswissviolinistin1906.Hismusicaltalentforhis agewasgreat,andin1907HindemithbegantakinglessonswiththeprincipalviolinistoftheFrankfurt Orchestra,AdolfRebner.Atageeighteen,RebnerarrangedforHindemithtohaveaplaceattheHoch Conservatory,whereRebnerwasonfaculty.WhileHindemithbeganhisstudiessolelyfocusingonthe violin,headdedcompositiontohisstudiesafterobtaininggrantsandsecuringmoneyfromwealthy Frankfurtfamilies(Schubert,3).HindemithfirststudiedcompositionwithArnoldMendelssohn,the greatnephewofthelateFelixMendelssohn.HisearlyworkswerevariedingenreHindemithwrote orchestralpieces,chamberworks,solopianoworks,andsongswithpianoaccompaniment.These worksfeaturedaharmoniclanguagethatwasverypopularoflateRomanticcomposers(Schubert,4). Ashiscompositionalstyleprogressed,HindemithcametodetestthesoundsoflateRomanticpieces, favoringamorepracticalharmoniclanguage. In1914,HindemithjoinedtheFrankfurtOperaOrchestraasafirstviolinist(Schubert,4).This positionallowedhimtomeetsomeoftheprominentGermancomposerofthetimewhilepremiering musicfromotherprominentcomposerssuchasDebussyandBartok.Inadditiontohisorchestral playing,HindemithbeganplayinginRebnersstringquartetasthesecondviolinist.Between1915and 1917,Hindemithplayedmanyviolinconcertoswiththeorchestra,includingsomebyHaydn, Beethoven,andMendelssohn.DuringWorldWarOne,Hindemithplayedbassdruminthemilitary band.Healsomanagedtoformastringquartetwhileinthearmy,andwasabletocontinuecomposing forthatgroup(Schubert,6).Whenthewarended,hereturnedtoboththeFrankfurtOperaOrchestra andRebnerQuartet.However,insteadofplayingtheviolininthequartet,Hindemithnowplayedthe viola.ThisshiftofinstrumentsgaveHindemithanopportunitytoplaythequartetrepertoireasbotha violinistandaviolist. In1919,heheldhisfirsteveningofcomposition,whichfeaturedprimarilyhisworks.Itwas afterthisconcertthatHindemithsecuredhispublisher,B.Schott,forlife(Schubert,7).Theconfidence thatHindemithgainedinhiscompositionalstyleafterthiseventresultedinaperiodofmasscomposition. Hecontinuedtocomposeformanydifferentgenresofmusic,butthetonalityofhismusicbegantoshift fromalateRomanticcomposertoonewhoviewmusicasanobjectiveexperience.Hindemiths

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objectivestyleofcompositionwasdifferentfromothermusicbeingcomposedatthetime.He consideredhimselfacraftsman,andbelievedthatmusicshouldbeaccessibletotheamateurplayer (Skeleton,117).Hindemithepitomizedthisbeliefbylearningmanydifferentinstrumentsasacomposer hefeltstronglyabouthavingaworkingknowledgeofeachinstrumentandbeingabletoplayeverything thathewrotehimself(Skeleton,118).Inadditiontotheseideas,Hindemithalsofirmlybelievedin tonalityasamusicalidea.InhiswritingTheCraftofMusicalComposition,heemphasizedhis thoughtsontonalitybystatingthattheforceoftonalitywassostrong,hecouldnotignoreit(Skeleton, 57).Intermsofformsofmusic,Hindemithfocusedonprimarilychambermusicinhisearlyyearsof compositionhecomposedalargenumberofchamberpiecesbetweentheyearsofandbegantowrite worksforlargerensemblesbeginningin1925withhisConcertoforOrchestra(Neumeyer,138). In1923,attheageoftwentyeight,HindemithcomposedhisClarinetQuintet,whichisscored forclarinetandstringquartet.Theworkisfivemovementsinlengthwithmovementlengthsthatwere shortthepieceinitsentiretyisabouttwentyminuteslong.Inthefirstmovement,Hindemithnotates thatthepieceshouldbeginwithaverylivelytempo(Hindemith,mvt1).Heopenswithamusicalline thatthequartetplaystogetherinoctaves,whiletheclarinethaseighthnotesfollowinganopeninghalf note.ThefirstmovementoftheworkfocusesonrhythmasadrivingfactorHindemithestablishesa feelingoftripleversusdupleinthethirdmeasureofthepiecewhenthestringsplayintripletswhilethe clarinetplaysineighthnotes(Hindemith,mvt1mm3).Thethemeoftripleversusduplereappears throughouttheentirefirstmovement. Hindemithalsoalterstheopeningstringstatementbymovingitintotheclarinetlaterinthe movement,butwithdifferentpitchesandthesameexactintervals.TheopeningstringlinebeginsonaD halfnote,andisfollowedbyaunisonhalfnote,arisingminorsecondquarternote,andadescending perfectfifthquarternote,whichtranslatesintoDDEbAb.Hindemithkeepsthisthemeandrestates itintheclarinetasthepieceprogresses,butinamoresubtlewaythanitwasoriginallypresented.In measurenineteen,thisstatementsoundsintheclarinetwhiletheviolinsandviolaareperformtriplet figures.Afterfivemeasuresoftheclarinetprogressivelygrowinglouder,thethemeappearsinthecello whiletheclarinetcontinuesthethemetwooctaveshigherthanwherethethemebegan(Hindemith,mvt1 mm1925).Themovementalsoendswiththefournotethemebeingstatedonelasttimeinthefour stringvoicesbeforethemoodchangesandthesecondmovementbegins.

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Hindemithsfivemovementsfollowafastslowfastslowfaststructure:thefirstandfifth movementshavethesamelivelyallegrotempo,thethirdmovementisascherzo,andthesecondand fourthmovementsarecalmandverycalm,respectively.HindemithsusestheBbclarinetforall movementsexceptformovementthree,wheretheclarinetplayerswitchestotheEbclarinet.TheEb clarinetisshorterinlength,thereforeproducingahigherpitchthanthatoftheBbclarinet.Thisshift allowsfortheclarinetsoundtocomethroughinascherzomovementthatisfullofactivity.Inthis scherzo,Hindemithcontinuestointerspersebothdupleandtriplerhythmsthroughoutboththestrings andtheclarinet(Hindemith,mvt3mm6783).Healsogivesveryspecificdirectionsonthetempoof themovementhewritesforthemovementtoslow,quicken,andquickenfurtherasthemovement reachesitsconclusion.ThesetempoindicationsdemonstratehowHindemithwasverycraftlikeinhis compositions:heincludesveryfewwordsthataretoindicatethestyleinwhichsomethingistobe played.Hindemithdoesnotusewordssuchass,krftig,orexpressivrather,howheobjectively wouldlikethemusictobeplayed(Skeleton,121).OneadditionaltechniqueHindemithusedwhile writingthispieceisretrogrademotion:thefifthandfinalmovementisexactlythesameasthefirst movementifitweretobeplayedbackwards.WherethefirstmovementendsonaDforthestrings, theyalsobeginthefifthmovementonthatsamenote(Hindemith,mvt5mm1). LucianoBeriowasborninOneglia,Italyintheyear1925,justtwoyearsafterHindemiths ClarinetQuintetwascrafted.Berioreceivedmusicaltrainingfrombothhisfatherandgrandfatherasa childbothhisfatherandgrandfatherwereorganistsandcomposers.Beriobegantolearnthepiano andbegantoparticipateinhisfatherseveningsofchambermusicatagenine(Osmond,4).Ashe progressedintohisteenageyears,Beriocomposedoccasionally,butwasprimarilyfocusedonhispiano playing.WhenWorldWarTwostruckEurope,BeriounwillinglyservedinthearmyofMussolinis Republic.Duringtraining,however,Berioinjuredhisrighthandsignificantlyenoughtoimpacthisability toplaythepiano.Whenthewarceasedin1945andBerioenteredtheMilanConservatory,hisinjuries preventedhimfromhavingacareerasapianist(Osmond,7).Withaloveofmusicthathadbeen developedovertime,Beriodecidedtofurtherimmersehimselfintheworldofcomposition. WhenBerioenteredtheConservatory,herapidlydiscoveredandlistenedtopiecesthat launchedEuropeintoanewmusicalera.OnesetbackofBeriosupbringingwashislackof connectivitytotheculturalcentersofEurope.WorldWarTwoledtoalackofnewmusicfrom

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GermanyandFrancebeingperformedinItalyduringhisyouth.DuringhisfirstyearofConservatory studied,BeriowasabletoattendperformanceofworksfromStravinsky,Schoenberg,andBartok (Osmond,23).Attwentyyearsold,intheyear1948,BeriobeganstudyingcompositionwithGiorgio FedericoGhedini.Ghedinisinstrumentalcompositionsleftadeep,lastingimpressiononBerio,which theninspiredBeriotowriteConcertinoin1950.WhendiscussingConcertino,Beriocommentedthat thepiecewascreatedtoexorcisehishatetowardFascism(Berio,1).HedeeplyresentedtheFascist governmentforcontrollingwhathecouldlistentoashegrewup.WhenFascismwasendedin1945, Beriorealizedhowculturallydeprivedhehadbecomefromtherestoftheworld.Thispiecewas createdasafinaltributetothecomposerswhohadbrokennewmusicalgroundbeforehim(Berio,1). BeriosConcertinoisscoredforclarinet,celesta,harp,soloviolin,andstringquintet.Asa youngcomposeratthetime,BerioreceivedalotofhisinspirationforthispiecefromGhedini,whowas hiscompositionteacheratthetime.UnlikethechambermusiccomposedbyStravinskyandHindemith, Concertinoisonlyonemovementanychangesintempooccursuddenlyasopposedtobetween movements.Beriochosetouseaninstrumentationthatwasnottraditionalinstead,heusedthebasisof astringquartetandaddedsoundlayersuponthat(Osmond,34).Thepiecebeginswiththecelesta playingsixteenthnotepatternsatanallegrettotempo.Theharpentersinthesecondmeasure,andthe clarinetentersinthethirdwhentheclarinetdoesenter,theplayerholdsasustainedupperregisternote whilefasterrhythmsareoccurringunderneaththepedalpoint(Berioscore,mm315).Theuseofthe clarinetinthebeginningofConcertinoisverydifferentfromhowHindemithandStravinskyusedthe clarinet.InHindemithsClarinetQuintet,therewasalargerfocusonaccessibilityfortheperformer, whichwasconsistentwithHindemithscraftsmancompositionalstyle.Similarly,inStravinskysEbony Concerto,theclarinetisasoloinstrumentthatissupportedbythejazzensemblethatplaysunderneath. Occasionally,therewasaninstrumentthatwouldplayasupportinglinetotheclarinet,buttheclarinet hadmanymomentsofmoretechnicalsolopassages.Initially,Beriousestheclarinetforacompletely differentpurpose:timbrally,theclarinetandsoloviolinareplayingthesamehighpedalpointoverthe morerhythmiccelestaandharp.Insteadofcreatingrhythmicandmelodicmovement,theclarinet focusesasapedalpointthatsoarsoverwhatoccursunderneath. Atmeasuretwentyoneinthepiece,thetempoofthepiecedoublesandbecomesafastvivace. Asthetempochangenears,theclarinethasgraduallybegantoplayincreasinglyfasternotes,which

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pushesthepiecetowardthefastertempo.Therestoftheensemblealsobeginstoplayrhythmically fasternotes:thecelestahastwelvenotesperbeatintwomeasuresleadinguptothetempochange.The stringquintetalsohelpstogathermomentumintothenewtempobyplayingsixteenthnotesthetwo measuresbeforehand(Berioscore,mm1920).Whenthetempochangestovivace,theclarinethas twocontrastingmusicalideas:onelineislegatowithlongerlengthnotes,whiletheotherhasrapidly changingstaccatonotes.Bothlinesaremelodicallydisjuncttheplayerskipsbetweenregistersoften andhaslargeleapsofsevenths(Berioscore,mm2731).Beriocreatesmanylayersofsoundwiththe melodiclinesheintroduces.Thecelestaandharpoftenplayadifferentmelodiclineinunisonthatdiffers fromwhattheclarinetisplaying.Similarly,thesoloviolincreatesitsownmelodiclinethatisdifferent fromtheprevioustwo.Thestringquintetaddsrhythmicdrivetotheensemblebyplayingunison rhythmicfigures(Berioscore,mm5060).Althoughtherearemanymelodiclinescomingfromdifferent partsoftheensemble,Beriousesthewholerangeoftheclarinetwhichhelpsitsoaraboveallother melodiclines. Inmeasureonehundredsixtysix,thetemporevertstotempoprimo,whichisaslower allegretto.ThethemesBeriousesatthebeginningofthepiecereemerge:thecelestaandharphave movingsixteenthnoteswhiletheclarinetholdsahighpedalpointaboveallotherparts.Theviolaofthe stringquartethasthemelodicmovinglinewhileothermembersofthestringquartetarestaticwithhalf notesandwholenotes(Berioscore,mm166180).Astheviolafadesoutwiththemelody,theclarinet beginstoplayamelodythatcontrastswithwhattheviolapreviouslyplayed.Berioexperimentsbriefly withadupleandtriplefeelbyhavingeighthnotes,quarternotetriplets,andeighthnotestripletsplayed intheclarinetmelody.(Berioscore,mm189194).Beriocontinuesthedupleandtriple experimentationattheveryendofthepieceinthestringquintet:quarternotetripletsareplayingagainst continuouseighthnotesinthefirstviolin(Berioscore,mm222229).Inadditiontothedupleandtriple occurringinthestringquintet,Beriocontinueshisuseofmelodiclayers:theclarinet,soloviolin,andharp areplayingseparatemelodicmaterialthatcometogetheratthelasttwonotes.Themembersofthe stringquintetandtheclarinetbothendonanAbthathasfadedtoalmostnothing(Berioscore,mm 244). Twentiethcenturymusicquicklygrewfromsomethingthatresemblednineteenthcenturymusic intoacenturyofwildideasanddiversecompositions.Stravinsky,Hindemith,andBeriocontributed

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significantlytotwentiethcenturymusicandtherepertoireoftheclarinet.IgorStravinskybroughtthe jazzbandintoaclassicalsettingwhilehighlightingtheclarinetasajazzinstrument.PaulHindemith becameacraftsmanandmadetheclarinetmoreaccessibletotheplayer.LucianoBeriocreated texturallayeringwithaninnovativeensemblethatfeaturedbothmelodicandrhythmicclarinetmelodies. Thesethreecomposersrepresentasampleofwhatwascomposedinthetwentiethcenturythese composersalsoserveascompositionalinspirationtopushthroughmusicalboundaries.Theydidnot knowwhattomorrowheldforthem,buttheycreatedanewfuturewiththeirmusicalcontributions.

Sources:

Books&Periodicals: Austin,William.Musicinthe20thCentury,fromDebussythroughStravinsky.NewYork:W.W. Norton&Company,1966.Print.

Griffiths,Paul.Stravinsky.NewYork:MacmillanPublishingCompany,1993.Print.

Machlis,Joseph.IntroductiontoContemporaryMusic.NewYork:W.W.Norton&Company, 1961.Print.

Neumeyer,David.TheMusicofPaulHindemith.NewHaven:YaleUniversityPress,1986.Print.

OsmondSmith,David.OxfordStudiesofComposers:Berio.Oxford:OxfordUniversityPress, 1991.Print.

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Skeleton,Geoffery.PaulHindemith:TheManBehindtheMusic.NewYork:Crescendo Publication,1975.Print.

Stravinsky,I.AndCraft,R.DialoguesandaDiary.NewYork:Doubleday&CompanyInc,1963. Print.

ElectronicResources: Berio,Luciano.Concertino:AuthorsNotes.n.d.Web.13February2014. http://www.lucianoberio.org/node/1356?1683204356=1

Christiansen,Kai.PaulHindemith(18951963).EarsenseChamberbase.n.d.Web.13 February2014.http://www.earsense.org/chamberbase/works/detail/?pkey=1172 Mellers,Wilfred.StravinskyandJazz.CambridgeUniversityPress.Web.3March2014. http://www.jstor.org/stable/943884

Schubert,Gieslher."PaulHindemith."GroveMusicOnline.<oxfordmusiconline.com>(Accessed17 February2014).

Walsh,Stephen."IgorStravinsky."GroveMusicOnline.EditedbyDeaneRoot. <oxfordmusiconline.com>(Accessed11February2014).

Wold,MiloMartin,GaryMiller,JamesCykler,Edmund.AnOutlineHistoryofWesternMusic, NinthEdition.Boston:McGrawHill,1998.Web.21March2014

Scores: Berio,Luciano.Concertino:forclarinet,violin,harp,celesta,andstrings.London:UniversalEdition, 1972.132.

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Hindemith,Paul.Quintet:forclarinet(Bb&Eb)andstringquartet.London:Schott&Co.Ltd,1955. 153.

Stravinsky,Igor.EbonyConcerto.NewYork:Boosey&HawkesInc,1973.140.

Recordings: Berio,Luciano.Berio:Concertino.AnthonyPey,NonaLiddell,LondonSinfonetta.SonyMusic Entertainment,2013.CD.

Hindemith,Paul.Hindemith:ClarinetQuintet.SpectrumConcertsBerlin.Naxos,2009.CD.

Stravinsky,Igor.EbonyConcerto.JohnBruceYeh,DePaulJazz&WindEnsembles.Reference Recordings,1993.CD.