Professional Documents
Culture Documents
by-
R on ald W ayne T y r e e
V olu m e I
P art 1
A u g u st 1957
C hairm an:
P r o f e s s o r H im ie V oxm an
COPYRIGHT BY
RO NALD WAYNE TY REE
1958
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T A B L E OF CONTENTS
V olum e I, P a r t 1
P age
F o r e w o r d ..............................
iv
C la rin e t R e c ita l P ro g r a m
..................................................
.....................................v
vi
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..................................... ...................................
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V olum e I, P a r t 2
THE GRAND CONCERTO FO R BASSOON AND ORCHESTRA
by J. N. H um m el (P iano R eduction S co re)
P re fa c e .
........................
...............................
E d ito ria l P r o c e d u r e s
..........................................
........................
V olum e II
FOUR SONATAS FOR BASSOON AND KEYBOARD, OPUS 26
by J. B. B o is m o rtie r
P re fa c e .
..............................
.
S onata No. 1 in D M a jo r .
.
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11
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...............................................
18
25
iii
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FOREWORD
T he H u n g aria n -b o rn H um m el
<,
One of h is m any co m p o sitio n s w as the
Gran d C o n c e rto fo r B assoon and O rc h e s tra . T h is c o n c e rto , ap p a re n tly n ev e r published, should attain
a p o sitio n am ong the outstanding w orks fo r the basso o n .
aiJtograph, the author has edited and p re p a re d the C o n c erto fo r p e rfo rm a n c e in th e o rig in a l o r c h e s
tr a l fo rm , and in a v e rsio n in which the ac com panim en t is red u c ed fo r piano.
T h e e d ito ria l p r o c e
Among
Be u m o r tie r's com positions fo r b assoon a r e tw o s e ts of six so n a ta s. Opus 14 and Opus 40, fo r two
b asso o n s, and one s e t of five so n a ta s fo r cello , o r v io la, o r b assoon, and fig u re d b a s s, Opus 26,
The so n a tas p re se n te d h e re a re the f ir s t fo u r of the la tte r se t.
by the p re s e n t w r ite r in an a p p ro p ria te sty le , and th e o ac ca sio n a l in sta n c e s of ed itin g follow the p r o
c e d u re s outlined in the p re fa c e to the fo u r so n a tas.
T h is d is s e rta tio n accounts for p a r tia l fu lfillm e n t of the re q u ire m e n ts e s ta b lish e d fo r the
D octor of P h ilosophy d eg re e in M usic with a m a jo r in M usic L ite ra tu r e and P e rfo rm a n c e .
The
and th e c la r in e t, and the a p p e aran c e with the U n iv e rsity Symphony O rc h e s tra w as on the alto sa x o
phone.
T he p rin te d
to p h o tograph and publish the autograph s c o re of H u m m e l's C o n c erto (B rit. M us. Add. MS 32218),
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STATE
UNIVERSITY
OF I OWA
D e p a r t m e n t o f M u s ic
of the
S T A T E
U N I V E R S I T Y
O F
I O W A
D e p a r t m e n t o f M u s ic
of th e
R e c ita l
School o f F in e A rts
1 /Q e c ita l
R O N A L D TY R EE, bassoon
R O N A L D W . TY R EE , clarinet
Handel
Kammertrio, Nr. 24
Adagio
Allegro
Largo
Allegro
assisted by
B rahm s
B eethoven
assisted by
Robert Humislon, oboe
Eldon Obrecht, string bass
John Knoernscbild, harpsichord
Sonata (1938)
I Leicht bewegt
II LangsamMarschPastorale
M ilhaud
Mozart
Concertino (1948)
Andante
Allegro Vivace
Hindemith
Marcel Bitsch
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Eighteenth Annual
presents the
C O N C E R T
by the
J a m e s D ix o n ,
H e ra ld Sta r k ,
R o nald
vi
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P R O G R A M
Sym phony No. 2 in D Major, O p. 36 . .
A dagio m olto A llegro con brio
L arghetto
Scherzo
Allegro m olto
L u d w ig van B eethoven
(1770-1827)
I N T E R M I S S I O N
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T he F u ll O rc h e s tra S core
PR E FA C E
H is m u s i
c a l c a r e e r began e a r ly when at th e age of nine he gave h is f ir s t public p e rfo rm a n c e u nder th e sp o n so rsh ip of M ozart,
with whom he lived and stu d ied f o r a b r ie f tim e .
stu d ied piano w ith C lem enti) and a s f a r e a s t a s St. P e te rs b u rg , H um m el u n d erto o k a s e rio u s study of co m p o sitio n with
such renow ned te a c h e r s as A lb re c h ts b e rg e r, Haydn, and S a lie ri.
and S tu ttg a rt, H um m el w as em ployed a s K a p e llm e iste r at W eim ar, w here he re m a in e d u n til he died.
C o m p arativ ely little d e ta ile d in fo rm atio n is known c o n c ern in g th e G ran d Co n c e rto fo r B a sso o n .
C atalo g u es
of H u m m e ls w ork s o m it any r e f e r e n c e to it, and the autograph, io cated in th e B ritis h M useum (Add. MS 32818), gives
no opus nu m b er o r date.
P o sitiv e id e n tifica tio n of th is p e rs o n h as not b een p o ssib le , sin c e ap p a ren tly no a u th o ritie s m ake m ention of a bassoon
p la y e r of th is nam e.
V ienna, in the s e rv ic e of P rin c e G rassalkow itz.*- It is lik ely th at H um m el knew th is G rie sb a c h e r, the d ir e c to r of a
c h o ir and wind band, sin c e th e c o m p o se r w as lo c ate d in V ienna at s e v e ra l tim e s .
w as w ritte n p ro b ab ly d u rin g the la tte r of th e se p e rio d s (1811-1816), sin ce the in sc rip tio n d is c lo s e s that l l u mm. l was
th en fro m V ienna (though he had b een born in P r e s s b u r g , H ungary, f
E d ito ria l P ro c e d u r e s
T he G rand C o n c erto fo r B assoon is h e re p re se n te d in the o rig in a l v e rs io n fo r so lo in stru m e n t and sm a ll _
o r c h e s tr a (Volume I, P a r t 1), to g e th e r w ith a v e rs io n in which the ac co m p an im en t h a s been red u ced fo r piano (V ol
u m e I, P a r t 2).
have been added e d ito ria lly , and s lu r s w hich a p p e a r in d ash es (o r p a rtly so) a r e m eant a s c o rre c tio n s which should r e
p la ce ap p a ren tly c a r e le s s and in c o n siste n t m a rk in g s by H um m el.
1.
E rn s t Ludw ig G e rb e r, N eu es h is to r is c h - b io g ra p h isc h e s L exikon d e r T o n k iin stler (L eipzig, 1612), Vol. II, col. 409.
2.
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w rong n o tes have been c o r r e c te d in the s c o re , the o rig in a l fo rm of such p a s sa g e s is given in the lo w er m arg in .
A box
of dotted lin e s is u sed to en c lo se fra g m e n ts of the s c o re which w ere co m p letely m is sin g in the autograph.
T he autograph co n tain s m any in sta n c e s of re w ritin g in both the solo p a rt and the accom panim ent.
c a s e s H um m el p ro v id ed two v e rs io n s in the solo p a r t, e ith e r of which m ay be played.
tio n a l v e rs io n of the p a ssag e .
In som e
In the solo p a r t the m a jo rity of s lu r s a re supplied by the ed ito r, and those which a re
ing th is fo rm of editing, the e d ito r does not o ffer his v e rs io n as the only solution p o ssib le .
cu lty of the C o n certo , the p e r f o rm e r m ay w ish to v a ry th e a rtic u la tio n at c e rta in p o in ts in ac co rd an ce with h is ta ste
and p e rfo rm a n c e ab ility .
The t r i l l s and m o rd e n ts should p re su m a b ly begin with the p rin c ip a l note if H u m m el's views
a s ech o es, and fo r th is p u rp o se the r e p e a ts a re m a rk e d p ia n issim o (pp) with a dotted line in d icatin g the length of the
echo.
T he second m ovem ent p ro v id e s the only o p portun ity fo r a cadenza, which in th is edition is supplied by the ed ito r,
C a re fu l con
sid e ra tio n has show n th a t it m ay logically be used as a re v isio n of the f o u r- b a r p assag e beginning at the fifth m e a su re
of r e h e a r s a l le tte r M (all r e h e a r s a l le tte r s have been supplied by the ed ito r).
faith fu lly and effec tiv e ly p e rfo rm e d with a sm a ll o r c h e s tr a of four winds and about tw enty s tr in g s .
H um m el used the
so n a ta a lle g ro fo rm fo r the f ir s t and second m ov em en ts, and the rondo fo rm fo r the fin al m ovem ent, while M ozart in
h is C o n c erto in B^3 M ajor fo r B asso o n had s im ila rly u sed the sa m e fo rm a l design, with only the second m ovem ent (an
ab rid g e d so n a ta fo rm ) d iffe rin g slig h tly .
3.
See h is p ia n o fo rte m ethod, K la v ie rs c h u le : a u sfiih rlich e th e o re tis c h - p ra c tis c h e Anweisung zum P ia n o fo rte sp ie l vom
e r s te n E le m e n ta r -U n te rr ic h t an b is z u r vollkom m en A usbildung (Vienna; H aslin g er, 18211).
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by
Volume I
Part 2
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Copyright by
ii
R e p r o d u c e d w ith p e r m issio n o f th e co p y rig h t o w n er . F u rth er rep ro d u ctio n p roh ib ited w ith o u t p e r m issio n .
BY J. N. HUMMEL (1778-1837)
Part 2. Piano Reduction Score
PREFACE
The Composer and the Manuscript
Johann Nepomuk Hummel (1778-1837) is most widely known as a piano virtuoso and composer of the early
nineteenth century.
In his day he won fame and esteem considered by many to be equal to that of Beethoven. His m usi
cal career began early when at the age of nine he gave his first public performance under the sponsorship of Mozart,
with whom he lived and studied for a brief time.
studied piano with Clementi) and as far east as St. Petersburg, Hummel undertook a serious study of composition with
such renowned teachers as Albrechtsberger, Haydn, and Salieri,
at Eisenstadt (the court of the Esterhazy), where he remained until 1811. After holding various positions briefly in
Vienna and Stuttgart, Hummel was employed as Kapellmeister at Weimar, where he remained until he died.
Comparatively little detailed information is known concerning the Grand Concerto for Bassoon. Catalogues
of Hummel's works omit any reference to it, and the autograph, located in the British Museum (Add, MS 32218), gives
no opus number or date. The inscription indicates that Hummel dedicated the Concerto to a certain Griesbacher.
Positive identification of this person has not been possible, since apparently no authorities make mention of a bassoon
player of this name. The only Griesbacher of this period who enjoyed wide acclaim was a distinguished clarinetist of
Vienna, in the service of Prince Grassalkowitz.1 It is likely that Hummel knew this Griesbacher, the director of a
choir and wind band, since the composer was located in Vienna at several tim es.
was written probably during the latter of these periods (1811-1816), since the inscription discloses that Hummel was
then from Vienna (though he had been born in Pressburg, Hungary.)
Editorial Procedures
While there is much evidence of rewriting and other changes to the Concerto in the autograph, it has been
necessary to edit the Concerto in term s of correcting obvious wrong notes and various other inconsistencies.
markings and a few other changes that have been editorially inserted are enclosed in parentheses.
Dynamic
For explanation of
the editorial procedures followed in the accompaniment, consult the Preface to the full orchestra score.
1. Ernst Ludwig Gerber, Neues historisch- biographisches Lexikon der Tonkiinstler (Leipzig, 1812), Vol. II, col. 409.
2. The sources from which the above biographical material is taken include the following: F. J. Fetis, Blographie
unlverselle des m usiciens, 2nd ed. (Paris, 1862), Vol. IV, p. 385ff; Ernst Ludwig Gerber, Alexandre Choron (and
others), A Dictionary of Musicians (London: Sainsbury and C o., 1824), Vol. I, p. 381ff; and Grove's Dictionary
of Music and Musicians, 5th ed. (New York: St. Martin's P ress, 1954), Vol. IV, p. 406ff.
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In some cases Hummel provided two versions in the solo part, either of which may be played.
ossia denotes the optional version of the passage.
The term
In the solo part the majority of slurs are supplied by the editor, and
those which are enclosed in brackets are taken from the autograph; both types should be played. It should be recognized
that in supplying this form of editing, the editor does not offer his version as the only solution possible.
Due to the ex
treme difficulty of the Concerto, the performer may wish to vary the articulation at certain points in accordance with
his taste and performance ability.
The tr ills and mordents should presumably begin with the principal note if Hummel's
views on ornamentation are to be resp ected / Hummel u ses both long and short grace notes, the long appoggiatura
appearing with no line drawn through the stem.
This latter type should receive emphasis as it is played on the beat and
takes its value from that of the main note (usually a half).
are immediately repeated with little or no change. The editor suggests that many of these repeated passages be con
sidered as echoes, and for this purpose the repeats are marked pianissimo (pp) with a dotted line indicating the length
of the echo.
The second movement provides the only opportunity for a cadenza, which in this edition is supplied by the
editor, since Hummel chose not to provide one. A few other marks or corrections of an obvious nature (such as signs
for triplet passages) have been added without special editorial identification.
The passage marked "Appendix" occurs in the autograph on a page near the end of the Concerto. Its pur
pose is subject to conjecture since no specific directions as to its use were provided by Hummel.
Careful considera
tion has shown that it may logically be used as a revision of the four-bar passage beginning at the fifth m easure of
rehearsal letter [hi] (all rehearsal letters have been supplied by the editor).
faithfully and effectively performed with a sm all orchestra of four winds and about twenty strings. Hummel used the
sonata allegro form for the first and second movements, and the rondo form for the final movement, while Mozart in
his Concerto in B^ Major for Bassoon had sim ilarly used the same formal design, with only the second movement (an
abridged sonata form) differing slightly. Though the first movement of Mozart's Concerto is rather florid, it is
generally not nearly so complex technically as is Hummel's work.
3.
See his pianoforte method, K lavierschule: ausfuhrliche theoretisch-practische Anweisung zum Pianofortesplel vom
ersten Elem entar- Unterricht an bis zur vollkommen Ausbildung (Vienna: Haslinger, 1828).
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ST
No. 102
12-6CTAVO
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213 49
MUSIC
FUlllSHCtS
N T l, O S.A.
by
Ronald Wayne Tyree
Volume II
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Copyright by
ii
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CONTENTS TO VOLUME H
Page
Preface
11
18
25
ill
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BY J. B. BOISMORTIER (1691-1765?)
PREFACE
During the reigns of Louis XIV and Louis XV, the musette (a French bagpipe) and the vielle (the hurdy-gurdy)
became popular in French society,
wrote pieces for these instruments called divertissem ents. Also among his works are compositions for bassoon, in
cluding two sets of six sonatas for two bassoons, Opus 14 and Opus 40, and a group of five sonatas, Opus 26, for solo
cello, or viola, or bassoon, with figured bass.*
The four sonatas presented here belong to the latter group for bassoon and figured bass, Opus 26, published
in 1729. The fifth sonata of the group is omitted since it has already been published with the figured bass realized.2
The source of the present edition is a photocopy of the original, from the example in the British Museum (Cat. No. g.
11. a. [2.] ).
Any corrections, such as supplying a m issing accidental, are here enclosed in parentheses to indicate
The editor has introduced slurs (in dashes) into several passages where
additional articulation seem s advisable. The sm all cross commonly signifies the Baroque trill which should properly
begin with the upper, auxiliary note,1* and the vertical dash above the note head suggests a short, staccato note
4
length.
The grace notes are usually the long note type of appoggiatura, which should be played on the beat, reducing
When the grace note connects the interval of a descending third, and the harmonic
structure warrants such an execution, the grace note should be treated as the exceptional short grace note which is
5
played before the beat, An example of this type occurs in measure 12 of Sonata No. 1, A minimal number of dynamic
markings have been added to those provided by Boismortier, whose dynamics in this edition appear in parentheses.
Throughout the sonatas occur examples of phrases which are repeated with little or no change. The editor suggests
that many of these repeated passages be considered as echoes, and for this purpose the repeats are marked
1.
The source of this information is B oism ortier's own statement in his published edition of Opus 26.
2.
J. B. Boism ortier, Sonate No. 5 pour Basson et Clavier, with figured bass realization by Fernand Oubradous
(Gen&ve: Editions du SiScle Musical, 1950).-
3.
Michel Pignolet de Mont^clair, Principes de muslque divisez en quatre parties (Paris, 1736), as cited in Jane
Arger, L es agrlm ents et le rythme (Paris: Rouart, Lerolle et C ie ., 1917, p. 91).
4.
5.
F. W. Marpurg, Die Kunst das Clavier zu spielen (Berlin, 1750), Other principal sources consulted on questions
of ornamentation Include: Grove's Dictionary of Music and M usicians, 5th ed. (New York: St. Martin's P ress, 1954),
Vol. VI, p. 384ff-., and Arnold Dolmetsch, The Interpretation of the Music of the 17th and 18th Centuries (London,
1915).
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2
pianissim o (pp) with a dotted line indicating the length of the echo.
Boism ortier used the symbol for a flat to cancel a sharp occurring in the key signature.
Frangois Couperin. The movements include the characteristic dance forms of Allemande, Courante, Gigue, Gavotte
and Minuet.
In two instances Boism ortier uses a pair of gavottes or minuets in the arrangement which later was
common in the minuet and trio, i . . , the first gavotte (or minuet) is repeated after the second one is played.
sonatas generally follow a plan of four movements, most of which fit the binary formal pattern.
ment titles are only tempo designations, such as Adagio, Allegro, and Largo.
The
third movement in each of the sonatas, and the style of these movements is sim ilar to the corresponding movements
in some of the flute sonatas of Bach or Handel, L e . , these movements have the character of Sicilianos (Sonata No. 4),
or slow melodic airs (Sonata No. 1), In the Fourth Sonata this slow movement is abbreviated, as in some of the
bassoon sonatas of Johann Galliard, a contemporary of Boism ortier,
between the preceding and following movements.
of the music suggests a type of prelude, and a broad tempo seem s most suitable.
The style
movement followed by an Allegro that is semi-fugato in style, and thus resem bles a French overture. It differs from
most French overtures, however, in that the opening Adagio is cast in binary form with two repeated strains and in
triple meter, in contrast to the more common arrangement of only one Adagio repeated strain, pompous in style, and
in duple meter.
Certain characteristic features of the use of binary form during this period, such as cadence rhyme and
transposition of the opening m aterial at the beginning of the second repeated strain (usually to the dominant or relative
major key), are utilized by Boism ortier.
In two of the sonatas (No. 3 and No. 4), the main tonality is retained as the
key center for all four movements, while in the others a single departure in the case of one movement is made.
In
Sonata No. 2 in A Minor, the third movement is in the relative major key (C), and in a sim ilar fashion, the third move
ment of Sonata No. 1 in D Major is in the relative minor key (B). In two of the sonatas there is a harmonic relation
ship, such as the dominant or mediant to tonic, between the close of the Adagio and the following movement ( g .g .,
Sonatas No. 3 and 1).
In general term s, one may say that these sonatas blend together the features normally associated with both
the sonata da camera and sonata da chiesa; i. e . , Boism ortier combines free movements, such as the Adagio or
Allegro, with the dance movements of the sonata da camera (e .g ., Allemande and Gavotte).
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