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An Examination of Selected Double Horn Concerti from Baroque to Romantic

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An Examination of Selected Double Horn Concerti from Baroque to Romantic An Examination of Selected Double Horn Concerti from Baroque to Romantic By Lindsay Marie Smith, BM, MM A Document In Performance Submitted to the Graduate Faculty Of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF MUSICAL ARTS Performance (Horn) Approved Christopher M. Smith Chairperson of the Committee Lisa Rogers James Decker Accepted Mark Sheridan Dean of the Graduate School May 2019 Copyright 2019, Lindsay Marie Smith Texas Tech University, Lindsay Marie Smith, May 2019 TABLE OF CONTENTS Abstract . .iv List of Figures. .v Chapter I. Introduction . .1 Overview of the Study. .1 Justification for the Study . .3 Limitations of the Study . 4 Review of Literature . .4 II. The Development of the Double Horn Concerto . 6 III. Music and the Horn in the Baroque Time Period . 9 Brief Historical Context . 9 Innovations to the Horn . 10 Concerto in E-flat for Two Horns and Strings, TWV 54:Es1 by Georg Philipp Telemann . 13 Brief Compositional Analysis . .13 Performance Practice Considerations . .19 Concerto in F major, RV 538 for Two Horns by Antonio Vivaldi . .21 Brief Compositional Analysis . .21 Performance Practice Considerations . .22 IV. Music and the Horn in the Classical Time Period . .24 Brief Historical Context . 24 Innovations to the Horn . 25 ii Texas Tech University, Lindsay Marie Smith, May 2019 Concerto in E-flat for Two horns, strings and basso continuo by Leopold Mozart . .27 Brief Compositional Analysis . .27 Performance Practice Considerations . .29 Concerto for Two horns in F major, M. C61 by Francesco Antonio Rosetti . .31 Brief Compositional Analysis . .31 Performance Practice Considerations . .35 V. Music and the Horn in the Romantic Time Period . 37 Brief Historical Context . 37 Innovations to the Horn . 38 Concertante for Two Horns in E by Franz Strauss . .40 Brief Compositional Analysis . .40 Performance Practice Considerations . .41 Concertino for Two Horns and Orchestra, Op. 45 by Friedrich Kuhlau . .43 Brief Compositional Analysis . .43 Performance Practice Considerations . .44 VI. Conclusion . .46 Implications for Further Research. .48 Bibliography . 49 Appendix . 51 iii Texas Tech University, Lindsay Marie Smith, May 2019 ABSTRACT This document examines six Double Horn Concerti from the Baroque, Classical, and Romantic musical eras. It aims to provide relevant information from each of the selected six Double Horn Concerti and provide performance practice considerations for each composition. The six Double Horn Concerti are Concerto in E-flat Major for Two Horns, TWV 54:Es1 by Georg Philipp Telemann (1681-1767), Concerto in F Major, RV 538 for Two Horns by Antonio Vivaldi (1678-1741), Concerto for Two Horns, Strings, and Basso Continuo by Leopold Mozart (1719-1787), Concerto for Two Horns in F major, M.C61 by Anton Rosetti (1750-1792), Concertante for Two Horns in E by Franz Strauss (1822-1905), and Concertino for Two Horns and Orchestra, Op. 45 by Friedrich Kuhlau (1786-1832). One of the goals of this document is to highlight Double Horn Concerti that are common and provide a framework for further study. These six were chosen because of their popularity on YouTube when searching for Double Horn Concerti. The structure of this research document includes six chapters. Chapter one provides an overview and introduction to the study as well as justifications, limitations, and a review of existing literature. Chapter two discusses the development of the Double Horn Concerto through several eras of music history from its early stage as a Concerto grosso to its later stage as a concerto specifically written for two horns. Chapters three, four, and five discuss in order the Baroque, Classical, and Romantic musical eras and the concerti selected to represent each era. Each chapter provides a brief historical context for the corresponding musical era, information on the innovations to the horn, and brief compositional analyses and performance practice considerations for each concerto represented. Chapter six includes conclusory and comparable information for all six Double Horn Concerti. iv Texas Tech University, Lindsay Marie Smith, May 2019 LIST OF EXAMPLES 2.1 The Harmonic Series . .8 3.1 Telemann, Concerto in E-flat for Two Horns & Strings, TWV 54:Es1, Mvt.1, mm. 1-7 . .11 3.2 Telemann, Concerto in E-flat for Two Horns & Strings, TWV 54:Es1, Mvt.1, mm. 16-19 . .12 v Texas Tech University, Lindsay Marie Smith, May 2019 CHAPTER 1 INTRODUCTION Overview of the Study The chamber concerto seemingly played a significant role in musical literature as well as the development of the horn. Specifically, the Double Horn Concerto emerged from the Baroque musical era via the development of the Concerto grosso. Throughout the Classical and Romantic eras, the Double Horn Concerto expanded even more as changes took place relative to horn design and playing abilities. When examining the Double Horn Concerto through several musical eras in history, one can appreciate the development reflected in a pattern of growth of the horn both structurally and aesthetically as seemingly seen in the writing of the concerti for the various horns. This document analyzes the horn writing of six important Double Horn Concerti. In particular, the author’s goal is to provide a practical performance guide for these six Double Horn Concerti including historical contexts, innovations to the horn, and performance practice considerations. Two works were chosen from each of the Baroque, Classical, and Romantic eras in order to demonstrate contrasts of developing literature for the horn. The compositions selected to represent each era were chosen based on their popularity on the platform YouTube as well as the numerous recordings by well-known horn players. When searching for Double Horn Concerti on YouTube, concerti by Georg Philipp Telemann, Antonio Vivaldi, Leopold Mozart, and Francesco Antonio Rosetti are among the first listed. Concerto for Two Horns in E-flat by Telemann had over 116 thousand views and the Concerto for Two Horns in F RV 538 by Vivaldi had over 32 thousand views. These frequented videos makes them arguably two of the most popular videos of Double Horn 1 Texas Tech University, Lindsay Marie Smith, May 2019 Concerti on YouTube from the Baroque era. A YouTube search yields several recordings of Concerto for Two Horns in E-flat by Leopold Mozart, with six different recordings available among the immediate listing. One movement of the concerto alone has over six thousand views. A recording of Rosetti double horn concerti has over 61 thousand views on YouTube. These concerti have been also performed and recorded by popular artists including Hermann Baumann and Sarah Willis. Hermann Baumann is a popular solo and natural horn artist in the horn community and an IHS (International Horn Society) Honorary Member. The discography on his website lists 114 recorded CDs to his credit. He has recorded several of these Double Horn Concerti. Sarah Willis is fourth horn of the Berlin Philharmonic and a popular solo artist. She currently has a following of over 15 thousand people on her Facebook page and has recorded many of the Double Horn Concerti including the Concerto for Two Horns in F C61 by Rosetti. The final two concerti from the Romantic era, by Franz Strauss and Friedrich Kuhlau, were chosen as they are the only two in print and available from this musical era. The structure of this research document includes six chapters. Chapter one provides an overview and introduction to the study as well as justifications, limitations, and a review of related literature. Chapter two discusses the development of the Double Horn Concerto through several eras of music history from its early stage as a Concerto grosso to its later stage as a concerto specifically written for two horns. It traces the development of horn writing from the compositions for opera to the composers that began to use pairs of horns in the orchestra. Chapter two also discusses the horn players for whom many of the Double Horn Concerti were written. Chapters three, four, and five discuss in order the Baroque, Classical, and Romantic musical eras and the concerti selected to represent each era. Each 2 Texas Tech University, Lindsay Marie Smith, May 2019 chapter provides a brief historical context for the corresponding musical era, information on the innovations to the horn, and a brief compositional analysis and performance practice considerations for each concerto represented. Chapter three specifically focuses on the Baroque musical era and examines Concerto in E-flat for Two Horns and Strings, TWV54:Es1 by Georg Philipp Telemann and Concerto in F major, RV 538 for Two Horns by Antonio Vivaldi. Chapter four includes an examination of Concerto in Eb for Two Horns, Strings, and Basso Continuo by Leopold Mozart and Concerto for Two Horns in F Major, M. C61 by Francesco Antonio Rosetti from the Classical musical era. Chapter five includes two concerti, Concertante for Two Horns in E by Franz Strauss and Concertino for Two Horns and Orchestra, Op. 45 by Friedrich Kuhlau for examination. Chapter six includes conclusory and comparable information for all six Double Horn Concerti. Justification for the Study There seems to be very little written and available regarding Double Horn Concerti. While several artists have recorded many of the Double Horn Concerti available, there still lacks practical performance information regarding the works. These Double Horn Concerti are in the author’s opinion an important part of the horn repertoire. They provide a unique opportunity for collaboration among two horn players. By studying these works, performers gain experience reading cor-alto and cor-basse parts “high horn and low horn parts.” These part designations translate to many of the excerpts players will study. 3 Texas Tech University, Lindsay Marie Smith, May 2019 Limitations of the Study This study is limited to examining six Double Horn Concerti from the Baroque through Romantic musical eras.
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