French composer Eugene Bozza (1905-1991) has made significant contributions to the repertoire of wind instruments in the twentieth century. Not least among his compositions are the clarinet concerto, the eleven works for clarinet and piano, chamber works involving the clarinet, and numerous etudes for clarinet. Information gathered throughout the course of the study demonstrates why the concerto is a significant work for clarinetists, demanding from the performer technical prowess, tonal control, and mature musicianship. The additional works for clarinet and piano are mostly sectional pieces written in a morceau de contours vein challenging the performer's lyrical and technical playing.This study reveals through analysis a number of compositional devices used by the composer that are stylistic threads running through virtually all the works for clarinet. Harmonically, these devices include extended tertian chords used in succession, parallel chord movement, and quartal and quintal harmonies. Melodic resources include diatonic scales, chromatic scales, some transposed modes, and a limited use of whole tones. The composer prefers homophonic textures, but uses countermelodies and the occasional use of the unaccompanied soloist for contrast. Bozza uses the element of rhythm dynamically, featuring rhythmically-charged motives throughout much of his composition. Numerous expressive modifiers are included in the works, but leave the performer enough latitude for supplementary dynamics and rubato.In addition to analyses of the concerto and the works for clarinet and piano, the study addresses the orchestration of the concerto. This discussion shows the ways in which Bozza uses orchestral colors and alerts the performer to discrepancies between the orchestral score and the piano reduction. Few of the changes from the score to the reduction are significant. Many changes are cosmetic involving the deletion of color effects and short countermelodies in the reduction to allow for idiomatic piano writing.The study offers the performer recommendations for the successful performance of the concerto and the works for clarinet and piano. The recommendations include supplemental expressive modifiers, fingering choices, additional phrasing choices, and practice techniques. As an introduction to the study, biographical information was gathered to provide the reader with a concise sketch of the life and style of Eugene Bozza. Correspondence received from Alphonse Leduc gives additional information on Bozza's works for clarinet. / School of Music

The popularity of the clarinet in Spain is second only to that of the guitar, and there is a rich tradition of clarinet playing that is accompanied by an equally rich repertoire of music for the clarinet by Spanish composers. The works for clarinet and piano by Miguel Yuste (1870-1947) are among this little known repertoire. In the early twentieth century it was thought that Miguel Yuste wrote over one hundred works for clarinet. However, current research suggests that this is incorrect. What is known is that seven works for clarinet and piano have been published. Miguel Yuste and his music are pivotal in the establishment of the strong clarinet tradition for which Spain is presently known. In his thirty years as the clarinet professor at the Real Conservatorio Superior de Música de Madrid (1910-1940), Miguel Yuste's music and pedagogical ideas became, and continue to be among the foundations of Spanish clarinet playing. This project discusses each published work and presents current research on the works composed for clarinet and piano by Miguel Yuste. After a brief history of Spain's music and social climate in which it developed (Ch. 2), this document discusses the introduction of the clarinet in Spain, clarinet pedagogy at the Madrid Conservatory (Ch. 2), and Miguel Yuste's influence within that pedagogy (Ch. 3). Establishing contact with living clarinetists whose music education was directly influenced by Miguel Yuste and/or his students provides invaluable insight into the traditional performance practice of the works and the extent to which Miguel Yuste influenced Spanish clarinetists in the twentieth century. Chapter four presents an annotated bibliography and brief discussion of the extant works for clarinet by Miguel Yuste. Each annotation includes the title of the work, publisher, date of publication, duration, and any commercially available recordings.