The Influence of Basso Continuo Practice on the Composition
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THE INFLUENCE OF BASSO CONTINUO PRACTICE ON THE COMPOSITION AND PERFORMANCE OF LATE EIGHTEENTH- AND EARLY NINETEENTH-CENTURY LIED ACCOMPANIMENTS by LYNN MARIE KANE A DISSERTATION Presented to the School of Music and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy June 2006 li "The Influence of Basso Continuo Practice on the Composition and Performance of Late Eighteenth- and Early Nineteenth-Century Lied Accompaniments," a dissertation prepared by Lynn Marie Kane in partial fulfillment of the requirements for the Doctor of Philosophy degree in the School of Music. This dissertation has been approved and accepted by: Dr. Anne Dhu McLucas, Chair of the Examining Committee /61/ 75- Z,‘00 Date Committee in Charge: Dr. Anne Dhu McLucas, Chair Dr. Marc Vanscheeuwijck Dr. Marian Smith Dr. Kenneth Calhoon Accepted by: Dean of the Graduate School iii © 2006 Lynn Marie Kane iv An Abstract of the Dissertation of Lynn Marie Kane for the degree of Doctor of Philosophy in the School of Music to be taken June 2006 Title: THE INFLUENCE OF BASSO CONTINUO PRACTICE ON THE COMPOSITION AND PERFORMANCE OF LATE EIGHTEENTH- AND EARLY NINETEENTH-CENTURY LIED ACCOMPANIMENTS Approved: Dr. Anne Dhu McLucas The use of basso continuo in the performance of many late eighteenth- and early nineteenth-century genres is well documented, yet the influence of this practice on the Lieder from that time has never been fully explored. This dissertation analyzes Lied accompaniments of the period in relation to the recommendations found in contemporary thorough-bass treatises in order to demonstrate that continuo practice did have an effect both on what composers were writing and how the songs were being performed. The majority of written-out Lied accompaniments from the late eighteenth century conform to the recommendations given by treatise authors on matters of texture, distribution of the notes between the hands, octave doublings, parallel intervals, embellishments, and the relationship of the keyboard part to the solo line. Furthermore, figured basses were still printed in some songs into the early part of the nineteenth V century. Well-known nineteenth-century Lied composers, such as Schubert, Mendelssohn, and Brahms also frequently use these simple, continuo-like keyboard parts, and incorporate common continuo techniques for filling out chords into their more complex accompaniments. The fact that continuo practice, a tradition in which improvisation played a large role, continued to have such a pervasive influence on the printed Lied suggests that additions and embellishments can be made to what is written on the page. Furthermore, evidence from secondary sources, statements by musicians of the period, and clues in the music itself confirm that composers did not always intend for performers to play exactly what is notated. In this dissertation, I argue that in many of these songs the musical score should be viewed as only a basic outline, which can then be adapted depending on the skill level of the performers, the available keyboard instruments, and the context of the performance. Principles from the continuo treatises serve as a guide for knowing what additions to make, and I offer suggestions of possible applications. Appendices detail the contents of approximately fifty continuo treatises published between 1750 and 1810. vi CURRICULUM VITAE NAME OF AUTHOR: Lynn Marie Kane PLACE OF BIRTH: Eugene, Oregon DATE OF BIRTH: October 21, 1977 GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon, Eugene, OR Wheaton College, Wheaton, IL DEGREES AWARDED: Doctor of Philosophy in Music History, 2006, University of Oregon Master of Music in Piano Accompanying, 2001, University of Oregon Bachelor of Music in Piano Performance, 1999, Wheaton College AREAS OF SPECIAL INTEREST: German Lieder Keyboard Performance Practice PROFESSIONAL EXPERIENCE: Graduate Teaching Fellow, University of Oregon, Eugene,1999-2006 Teaching Assistant, Wheaton College, Wheaton, Illinois, 1996-1999 vii GRANTS, AWARDS AND HONORS: Outstanding Graduate Scholar in Music, University of Oregon, 2006 Graduate Student Research Award, University of Oregon, 2005 Finalist, University Club Foundation Fellowship, 2004 Scholastic Honor Society Scholarship, Wheaton College, 1999 Presser Scholar, Wheaton College, 1998-1999 viii ACKNOWLEDGMENTS I would like to express sincere appreciation to my entire committee for their insight and involvement from the very beginning of this process. Their commitment to excellence in both scholarship and musical performance is an inspiration to me. Special thanks also to Dr. Gregory Mason for providing many of the eighteenth-century scores used for this project, for teaching me so much about the art of accompanying, and for giving me confidence in my instincts as a performer. In addition, thanks are due to Erick Arenas for his assistance in obtaining facsimiles, and to Tim Clarke for providing the computer-notated versions of some of the examples. Most of all I am grateful to Bryan, my husband, best friend, and personal computer technician. I could not have done this without your patience, love, and encouragement every step of the way. ix DEDICATION To my parents, who taught me the importance of education, hard work, integrity, and honoring my commitments. x TABLE OF CONTENTS Chapter Page I. INTRODUCTION 1 Statement of Purpose 1 Significance of the Study 4 Methods and Procedures 7 Overview of Relevant Scholarship 10 Overview of the Dissertation 21 II. A BRIEF HISTORY OF THE GERMAN LIED 23 The Seventeenth-Century Continuo Lied 25 The Hamburg Lied 33 The Late Eighteenth-Century Lied in Northern Germany 39 The Late Eighteenth-Century Lied in Southern Germany 62 The Late Eighteenth-Century Lied in Austria 65 The Late Eighteenth-Century Lied in Switzerland 74 The Lied at the Turn of the Century 82 Summary 86 III. GENERAL RULES OF ACCOMPANYING IN THE LATE EIGHTEENTH CENTURY 90 Audience and Purpose 91 Number of Notes and Their Distribution 99 Intervals and Chords 105 Unfigured Bass 108 Ornamentation and Filled-In Accompaniments 112 Relationship to the Solo Line 116 Summary 123 xi Chapter Page IV. CONTINUO PRACTICE AND THE COMPOSITION OF LIED ACCOMPANIMENTS IN THE LATE EIGHTEENTH CENTURY 126 Figured Bass Accompaniments 127 Northern Germany 144 Southern Germany 165 Switzerland 172 Austria 174 Summary 185 V. CONTINUO PRACTICE AND THE COMPOSITION OF LIED ACCOMPANIMENTS IN THE EARLY NINETEENTH CENTURY .... 187 Carl Friedrich Zelter (1758-1832) 188 Ludwig van Beethoven (1770-1827) 198 Louise Reichardt (1779-1827) 203 Johann Carl Gottfried Loewe (1796-1869) 209 Franz Peter Schubert 213 Fanny Hensel (1805-1847) 227 Felix Mendelssohn (1809-1847) 232 Johannes Brahms (1833-1897) 238 Summary 246 VI. THE PERFORMANCE OF LIED ACCOMPANIMENTS IN THE LATE EIGHTEENTH AND EARLY NINETEENTH CENTURIES 249 Flexibility of the Musical Score 250 Improvisation in the German Lied 257 Conclusion 293 xii APPENDIX Page A, GENERAL INFORMATION REGARDING CONTINUO TREATISES, 1750-1808 301 B. NUMBER OF NOTES AND THEIR DISTRIBUTION ACCORDING TO CONTINUO TREATISES, 1750-1808 324 C. INTERVALS AND CHORDS ACCORDING TO CONTINUO TREATISES, 1750-1808 336 D. BASS LINE SPECIFICS ACCORDING TO CONTINUO TREATISES, 1750-1808 342 E. PERFORMANCE INSTRUCTIONS GIVEN IN CONTINUO TREATISES, 1750-1808 348 BIBLIOGRAPHY 362 LIST OF MUSICAL EXAMPLES Musical Example Page 1. Heinrich Albert, "Herbstlied,"from. Arien, Denkmaler deutscher Tonkunst, no. 12 (Wiesbaden: Breitkopf & Hartel, 1958) 28 2. Heinrich Albert, "Auf! Ihr rneine giildne Saiten,"m. 5-7, from Arien, Denkmaler deutscher Tonkunst, no. 13 (Wiesbaden: Breitkopf & FIRM!, 1958) 30 3. Stepan, "Im Frithlingsschatten," m. 1-10 from Das Wiener Lied von 1778 bis Mozarts Tod, Denkmaler der Tonkunst in Osterreich, no. 54 (Graz: Akadernische Druck und Verlagsanstalt, 1960) 67 4. Walder, "An ein Bischen m. 1-7 from Singcompositionen mit Begleitung des Claviers, vol. 2 (Zurich: Orell, Gessner, Fueslin und Compagnie, 1786) 81 5. Pasquali, Thorough-bass Made Easy, Plate 1 101 6. Kollmann, Practical Guide to Thoroughbass, p. 29 1.15 7. Fricke, A Treatise on Thorough Bass, p. 93 118 8. Agricola, "Das Erdbeben," from Musikalisches Allerley, (Berlin, Feb. 1761) 129 9. Georg Benda, "Philint Stand," m. 1-7 from Sammlung Vermischter Clavier und Gesangstiicke (Leipzig: Schwickert, 1780) 130 10. Schubart, "Der Riese und der Zwerg," m. 1-24 from Christian Friedrich Daniel Schubart Nimtliche Lieder, Denkmaler der Musik Baden- Wiirttemberg, no. 8 (Munich: Strube, 2000) 131 11. Schubart, "Die Henne," m, 16-23 from Christian Friedrich Daniel Schubart Seimtliche Lieder, Denkmaler der Musik Baden-Wurttemberg, no. 8 (Munich: Strube, 2000) 133 12. Neefe, "Hermann und Thusnelda," m. 1-7 from Oden von Klopstock mit Melodien (Flensburg and Leipzig: Kortenschen Buchhandlung, 1776) 134 13. Neefe, "Hermann und Thusnelda," m. 10-12 from Oden von Klopstock mit Melodien (Flensburg and Leipzig: Kortenschen Buchhandlung, 1776) 134 xiv Musical Example Page 14. "Hanne," m. 5-8 from Funfzig weltliche Lieder (Zurich, 1778) 136 15. Kasermann, "Bitten," from Geistliche Oden und Lieder von C. F. Gellert (Bern: Ludwig Rudolf Walthard, 1804) 138 16. Kimberger, "Ich trachte nicht," m. 1-10 from Oden mit Melodien (Danzig: Jobst Hermann FlOrcke, 1773) 140 17. C. P. E. Bach, "Lied der Schnitterinnen," m. 1-9 from Neue Lieder-Melodien nebst einer Kantate VIM Singen beym Klavier (Litheck: Christian Gottfried Donarius, 1789) 148 18. C. P. E. Bach, "Geduld," m. 11-20 from Herrn Professor Gellerts Geistliche Oden und Lieder mit Melodien (Berlin: George Ludewig Winter, 1759) 149 19. J. A. P. Schulz, "Beschattet von der Pappelweide," from Lieder im Volkston (Berlin, 1782) 151 20. F. W. Rust, "Lied," from Oden und Lieder, vol. 2 (Leipzig: Georg August Grieshammer, 1796) 152 21. Corona SchrOter, "Der Brautschmuck," m. 1-4 from 25 Lieder in Musik gesetzt (Weimar, 1786) 153 22. J. F. Reichardt, "ErlkOnig," m. 1-7 from Goethes Lieder, Oden, Balladen und Romanzen mit Musik, Das Erbe deutscher Musik, no. 58 (Munich: G. Henle, 1964-70) 154 23. C. H. Graun, "Auferstehn, ja auferstehn," m.