Jean Xavier Lefèvre's Méthode de Clarinette and Clarinet Concerto no. 3 in historical and pedagogic context
Tunison, Evelyn Moria
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https://hdl.handle.net/2142/103436
Description
Title
Jean Xavier Lefèvre's Méthode de Clarinette and Clarinet Concerto no. 3 in historical and pedagogic context
Author(s)
Tunison, Evelyn Moria
Issue Date
2019
Director of Research (if dissertation) or Advisor (if thesis)
Harris, J. David
Doctoral Committee Chair(s)
Harris, J. David
Committee Member(s)
Bashford, Christina
Dee, John
McGovern, Timothy
Peterson, Elizabeth
Department of Study
School of Music
Discipline
Music
Degree Granting Institution
University of Illinois at Urbana-Champaign
Degree Name
A.Mus.D. (doctoral)
Keyword(s)
Jean Xavier Lefèvre
Méthode de Clarinette
Clarinet Concerto no. 3
classical clarinet
Amand Vanderhagen
Johann Georg Heinrich Backofen
Anweisung zur Klarinette
Méthode Nouvelle et Raisonnée pour la Clarinette
Language
en
Abstract
Jean Xavier Lefèvre
wrote his
Méthode de Clarinette
in 1802
for use at the Paris
Conservatoire.
This clarinet tutor was influenced by its precursor, the
Méthode
Nouvelle et
Raisonnée
pour
la
Clarinette
(1785)
by
Amand
Vanderhagen, which was the first clarinet tutor.
From the
Méthode
Nouvelle et
Raisonnée
pour la
Clarinette, Lefèvre
pulled the formatting and
topics for his own tutor. Despite this use of Vanderhagen’s tutor as a template, the
Méthode de
Clarinette
surpasses what the
Méthode
Nouvelle et
Raisonnée
pour la
Clarinette
offers in terms
of music, exercises, detailed instructions, topics, beginning student instructions, and
development of
musicality.
The same categories that
progressed
Lefèvre’s
Méthode
de Clarinette
from
Vanderhagen’s
tutor
can be seen in the
Anweisung zur Klarinette
(c. 1803)
by J.G.H. Backofen,
which
was the first German clarinet tutor.
Backofen visited Paris for six years and during that
time he had a lesson with Lefèvre, played duets with him, and even procured jobs through
Lefèvre.
These years spent in contact with each other influenced Backofen’s
Anweisung zur
Klarinette.
Backofen builds on Lefèvre’s tutor, further simplifying instructions for beginning
students,
replicating
Lefèvre’s progressively difficult music and exercises, providing detailed
instructions, and incorporating musicality.
Included in this paper is a discussion of Lefèvre’s
third concerto
(c. 1783-1790), which
has been
thought to be
lost
as late as 1980. This third concerto is still in existence and reflects
Lefèvre’s teaching and musical philosophies
that
would later be written down in
the
Méthode de
Clarinette.
Writing about this concerto, transcribing the orchestra parts for piano, and showing
its relation to
the
Méthode de Clarinette, along with
my
English translation of the
Méthode de Clarinette
brings
this tutor to a new, modern audience while highlighting the historical influence
it has
had
—
from expanding on the first clarinet tutor,
to influencing the first German clarinet
tutor,
to the similarities between Lefèvre’s methods
and the methods used to teach clarinet
students today.
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