System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Nov. 22, 1999, July 9, 2001, Feb. 10, 2003, and Nov. 13, 2008. Includes bibliographical references (p. 33-35).

England experienced a resurgence of musical talent in the late nineteenth and early twentieth centuries known as the "English Musical Renaissance." This rebirth spanned the years 1880 – 1945 and is credited to the work of Edward Elgar, Frederick Delius, Gustav Holst, and Ralph Vaughan Williams. Their break with Continental compositional models and the subsequent rediscovery of Tudor music and English folk song eventually created a "pastoral" musical style, heard as the authentically English musical voice. A strain of English musical Romanticism continued parallel to the Renaissance, however, represented by Granville Bantock, Joseph Holbrooke, Rutland Boughton, Arnold Bax, and Havergal Brian. These composers retained Continental, specifically Wagnerian, Romantic techniques, including chromatic harmony, leitmotifs, virtuosic use of enormous performing forces, and an emphasis on programmatic music. Their inspiration was drawn from exotic sources and Nature's mystical, dangerous, and beguiling qualities instead of any "pastoral" traits. Each wrote emotionally extravagant music at a time when such was considered foreign to the English character. This dissertation demonstrates the Wagnerian character of these “English Romantics” through examination of stylistic features in representative scores. Further, by presenting scores, criticism, and monographs, it affirms their sustained compositional presence through the twentieth century though English cultural tastes had turned from Germany to France, Russia, and the United States after the First World War. Finally, in challenging the standard narrative of British musical history this study broadens the concept of authentically English music to include a great deal more music “made in England.”

The name Joseph Holbrooke is, for the most part, unknown today, but that was not the case in the early years of the 20th century. Conductors such as Sir Thomas Beecham and Henry Wood performed his works throughout England, and his opera, The Children of Don, was performed in Vienna and Salzburg. However, his popularity did not last, and the performances of his works began to decline sharply after 1925. By the last quarter of the 20th century, performances of his works were very rare, even in England, and most, if not all, were out of print. As reason for this decline, some have cited the long duration and large instrumentation required by some his works, while others have said the neglect is well deserved, but the critical pendulum now seems to be swinging in the other direction. Many of his pieces have come back into print and new recordings are being released. This is especially good news for clarinetists because of the quality and number of his works for that instrument. His compositions for clarinet include chamber and solo works, and a double concerto for clarinet and bassoon. These melodic and intriguing works for the clarinet deserve more investigation and exposure. This document provides an annotated bibliography of all of Holbrooke's solo and chamber works involving the clarinet. Each entry lists title, publisher, date of composition/publication, duration, commercially available recordings, and provides a brief description. In addition, a biographical sketch is provided along with an overview of his compositional style.