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Richard Strauss's Concerto for Horn, Op. 11 and The RICHARD STRAUSS’S CONCERTO FOR HORN, OP. 11 AND THE NATURAL HORN Douglas Robert Ross A thesis submitted in partial fulfilment of the requirements for the degree of Master of Music (Performance) Sydney Conservatorium of Music University of Sydney 2016 Statement of Originality I declare that the research presented here is my own original work and has not been submitted to any other institution for the award of a degree. Signed: Date: ii Abstract I propose in this thesis that the internal evidence of the composition of Richard Strauss’s Concerto for Horn, Op. 11 indicates that the horn part of the concerto may originally have been conceived with the natural horn in mind. Contrary to the claims of successive performers and scholars, the advanced hand-horn techniques in use in the late nineteenth century would have made it entirely playable on the natural horn by expert performers. It is therefore my intention in the performance component of the degree to perform the work on the natural horn. iii Acknowledgements This thesis would not have been possible without the continuous support of the academic staff of the Sydney Conservatorium of Music. In particular, I would like to thank Associate Professor Neal Peres Da Costa for his patience, and understanding towards me. He has inspired, and encouraged me with his infectious enthusiasm for music performance, and academic research. I also would like to thank Doctor Alan Maddox, who spent many hours listening, and discussing the topic with me. Without his guidance I would surely have been lost. I am most grateful for the guidance, encouragement, and inspiration on the natural horn, which I have received from Professor Darryl Poulsen. His knowledge has been invaluable, and his generosity has made this journey an absolute delight. I thank Herr Peter Damm for his email reply, and forwarding me a copy of his essay. Thanks go to Professor Anna Reid, and Associate Professor Kathleen Nelson for their understanding, and encouragement throughout this process. Appreciation, and high regard to Mr David Miller for his assistance with the performance of Czerny’s Fantasy, No. 1, and Ferdinand Ries’s Sonate für Horn und Klavier F-Dur, Op. 34. His willingness to perform both works on an Érard piano was an experience neither of us will ever forget. Thank you to Susie Walsh for her professional editorial services in copyediting and proofreading the final revisions to this thesis. Lastly, boundless gratitude, and love to family, and friends for they patiently endured, and gave encouragement throughout the entire experience. iv Dedication This work is dedicated to the memory of Monica Goodchild (1927-2014), whose steadfast love and encouragement sustained me through the darkest hours. v Table of Contents STATEMENT OF ORIGINALITY .................................................................................... II ABSTRACT ................................................................................................................ III ACKNOWLEDGEMENTS ............................................................................................. IV DEDICATION .............................................................................................................. V TABLE OF CONTENTS ................................................................................................ VI TABLE OF FIGURES .................................................................................................... IX CHAPTER ONE ........................................................................................................... 1 Introduction ..................................................................................................................................................... 1 CHAPTER TWO ........................................................................................................ 10 Background .................................................................................................................................................... 10 Richard Strauss (1864-1949) .......................................................................................................................................... 10 CHAPTER THREE ...................................................................................................... 21 Influences ....................................................................................................................................................... 21 Franz Strauss (1822-1905) .............................................................................................................................................. 21 Ludwig Thuille (1861-1907) ........................................................................................................................................... 25 Hans von Bülow (1830-1894)......................................................................................................................................... 28 CHAPTER FOUR ....................................................................................................... 30 Horn Technique ............................................................................................................................................ 30 Seventeenth Century ........................................................................................................................................................... 31 Eighteenth Century .............................................................................................................................................................. 33 Anton Joseph Hampel (c. 1710-1771) ................................................................................................................... 34 Johann Werner (fl. 1750) ............................................................................................................................................ 35 Giovanni Punto [Wenzel Stich] (1748-1803) .................................................................................................... 38 Nineteenth Century .............................................................................................................................................................. 41 Heinrich Domnich (1767-1844) .............................................................................................................................. 42 CHAPTER FIVE ......................................................................................................... 50 Valve Horn Invented .................................................................................................................................... 50 Friedrich Blühmel (d. before 1845) and Heinrich Stölzel (1772-1844) ............................................... 50 Pierre-Joseph Émile Meifred (1791-1867) and Josef Rudolf Lewy (1802-1881) ............................ 51 Robert Schumann (1810-1856) ............................................................................................................................... 54 French Military Bands (1845) ................................................................................................................................... 55 vi Hector Berlioz (1803-1869) ...................................................................................................................................... 56 Richard Wagner (1813-1883)................................................................................................................................... 58 Johannes Brahms (1833-1897) ................................................................................................................................ 60 Oscar Franz (1843-1889) ............................................................................................................................................ 62 Henri Kling (1842-1918) ............................................................................................................................................. 63 Franz Strauss (1822-1905) ........................................................................................................................................ 63 Richard Strauss (1864-1949) .................................................................................................................................... 64 CHAPTER SIX ........................................................................................................... 66 Analysis ........................................................................................................................................................... 66 Overview ................................................................................................................................................................................... 66 Scores Referenced and Edited for the Analysis ...................................................................................................... 67 1882 Anniversary Score............................................................................................................................................... 67 1882 Anniversary Score (Bülow Notation) ........................................................................................................ 68 1882 Autograph Score .................................................................................................................................................. 68 1882 Autograph Score (Alternative
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