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Home , Baryton, Baryton trios (Haydn), Bass (instrument), Flute, Joseph Haydn, String instrument

Bowed Seven-Stringed Instruments in the and Classical Eras: Works for da Gamba and by and Franz Joseph Lanson W. Wells University of North Carolina at Charlotte Faculty Mentor: James Grymes University of North Carolina at Charlotte

ABSTRACT The , viola, and of the modern are familiar to both and lovers alike, though few audience members and musicians are aware of the exciting body of rep- ertoire that exists for instruments that were once contemporaries of those familiar orchestral instruments, namely the viola da gamba and the baryton. The viola da gamba was the foremost instrument of the Baroque period, thanks in large part to masterworks composed for the instrument by leading such as Marin Marais. The baryton formed an essential part of 125 chamber works by Franz , one of the most famous composers of the Classical era. By understanding the construction and playing techniques of the viola da gamba and the baryton, as well as the lives and works of the composers who wrote for them, perform- ers and listeners can rediscover a forgotten repertoire of musical gems that were composed for these otherwise antiquated instruments. Modern day musicians who wish to perform or study this music must have a detailed grasp of the historical context of both the lives of these com- posers as well as the genesis of these works composed for the viola da gamba and the baryton.

Marin Marais and the Viola da low pitched seventh string to the bass viola Gamba da gamba. Unlike a modern violin or cello, these instruments are bowed with an under- he viola da gamba is a family of instru- hand bow grip. The viola da gamba existed Tments in various sizes and pitches, all before the violin and was the prevalent string of which are played on the lap or between from the early Renaissance era through the the legs, depending on the size of the instru- Baroque period, but declined in popularity in ment. Often, several sizes of the instrument the 1700s due to the rise of the play together as a group called a consort. (Gammie, 1989). The bass viola da gamba, A typical consort would include anywhere which is the largest member of the family, from three to six players, and involve treble, has by far the most repertoire and is the in- , and bass viola da gambas. The instru- strument usually used for solo literature. The ment features a fretted neck like a , and only survivor of the viola da gamba family six or seven bowed strings. It is in fact Marin found in the modern orchestra Marias who is given credit for adding the is the , whose body shape and

1 Explorations |Humanities and Fine Arts tuning are more related to the viola da gamba Royal Court of Louis XIV, making the com- da family than the violin family. poser the most important figure in French musical life. Soon, Marais would become a of Marin Marais composition student of the great . This position with the Opera Orchestra began Marin Marais was born in Paris, France Marais’s employment in the court of Louis on May 31, 1656. He was the son of Vincent XIV. Marais and Catherine Bellanger. His father In 1679, Marais was appointed “ player was a profitable Parisian shoemaker and his in ordinary to the King’s ,” a mother died during Marais’s infancy. In 1667, position he held until the end of his life. By at age eleven, Marais entered the school 1682, Marais had become famous throughout of St. Germain-l’Auxerrois. Founded in the France, and beyond to the rest of , as seventh century, St. Germain-l’Auxerrois is the greatest virtuoso of the viola da gamba. a Parisian church that had trained musicians While at court, Marais’s duties included per- for almost three hundred years by the time formance, composition, teaching, and con- Marais enrolled as a student. His uncle Louis ducting the opera orchestra (Gorce, Milliot, Marais, who was a vicar at the church, was 2001). It is documented that Marais con- mainly responsible for Marin’s enrollment. ducted Lully’s operas on several occasions, Marais was a student at the choir school from proving that he was highly respected in the 1667 until 1672 (Gorce, Milliot, 2001). musical climate. During his time at St Germain-l’Auxerrois, Outside of his musical career, Marais mar- Marais began his viola da gamba studies. ried Catherine Damicourt in 1676. Their Though Marais’s chosen instrument was marriage produced nineteen children, several the bass viola da gamba, he would become of whom became well-known viol players. a well-known virtuoso upon all sizes of the Marais and Vincent Marais are the gamba family. Marais’s first gamba teacher, most important of his progeny. Marais died in François Chaperon, was the head of the choir Paris, France on August 15, 1728 (Slonimsky, school. Marais soon surpassed Chaperon, Kuhn, McIntire 2001). and was then tutored by the famous gam- bist Nicolas Hotman. Hotman was a Belgian Marais’s Compositions and Notational composer and instrumentalist who had taught System the most famous gambist of the day, Sainte- Colombe. After Marais left the choir school, Marais was just as respected as a composer it was arranged for him to study with Sainte- as he was as a performer. His most import- Colombe. Though a mysterious and reclu- ant published works are his five books of sive figure, Sainte-Colombe was regarded Suites for viol and thoroughbass. The books as the greatest teacher of the viola da gamba included solo pieces for a single viol, duets in his day. Famously, Marais was dismissed and trios for consorts of , and pieces after only six months of study with the mas- for single viol with the composer’s realized ter, as Sainte-Colombe believed Marais had thoroughbass. Due to the expense and time of surpassed him as a viol player (Slonimsky, typesetting, these books were published many Kuhn, McIntire 2001). years apart. The entire collection appeared In 1675, at age nineteen, Marais was ac- over a period of thirty-nine years, with indi- cepted into the Opera Orchestra of Paris. vidual books being published in 1686, 1701, It was as a member of this ensemble that 1711,1717, and 1725 (Teplow, 1986). These Marais met the composer and conductor of works are significant because they document the Opera, Jean-Baptiste Lully, who was the the compositions of one of the greatest virtu- most renowned composer and conductor in osos of the viola da gamba, who happened to France. Lully was the music director of the be taught composition by one of the greatest

2 Lanson W. Wells composers of his time. These works are also ordre, , and (Fuller, 2001). salient because each book contains pieces The first three terms are helpful to- under aimed at gamba players of varying levels. In standing the genre. The title of sett denotes each book, Marais has written movements the genre as a set of pieces. The title of lesson for beginners as well as movements for very shows the genre functioning for educational advanced gambists. Of great importance is purposes. The title of ordre places emphasis the fact that Marais marked his music metic- on the sequence of pieces. The most confus- ulously. He invented notation for expression ing of these alternate terms is sonata, as the markings as well as notation for advanced suite does not use the formal restrictions of fingerings and bowings (Kinney, 1966). Each . It is important to note the orig- book starts with a preface that explains this inal French meaning of “suite”, which is “to notation along with any new additions to his follow” or “in succession”. notation system. Marais’s notational system The term suite has been applied to com- shows the great care the composer took to positions as diverse as pairs of dances from clarify his ornamentation and provided the the fourteenth century, the viola da gamba idiomatic and crucial fingerings he felt were works of Marais, the keyboard works of J.J. necessary to perform his music. Froberger, the solo string compositions of It is important to note that Marais’s special J.S. Bach, up to current twenty-first century notation system was specially engraved for compositions. Since its inception, the suite use by a typesetter. This customized engrav- has existed as both a musical genre as well as ing and typesetting would have been both a convenient way for a composer to arrange expensive and time consuming. The fact that existing pieces into groups for performance Marais would wait years for this engraving and publication. is telling of the importance he placed on the The first use of the word suite is found interpretation of his music. This information in a German manuscript from 1557, to de- from the composer gives the modern player scribe pairs of dances called branles. After unparalleled insight on how to appropriately the branle died out as a social dance, the term perform these pieces three hundred years af- suite took the French meaning “the following ter their composition. piece”. This meaning is applicable until the Some other important compositions by eighteenth century. The historical “school” Marais are his Trios for , violin, and tre- of French lute playing is often given credit ble viol (1692), the bass viol solo La gamme for developing the suite into multi-move- (1723), his for violin, viol, and ment instrumental compositions. This likely (1720-23), and his four operas: took place in northern France during the first Alcide (1693), Ariane and Bacchus (1696), decades of the 1600s (Fuller, 2001). Since Alcione (1706), and Semele (1709). much of the instrumental music composed from 1600 to 1725 was either intended for or The Suite its Relation to the Compositions influenced by dance, suites became the dom- of Marais inant genre of multi-movement instrumental compositions. Suites were both practical for In its most general sense, the suite is an or- use at dances and provided an outlet for com- dered set of instrumental dances intended to posers of secular music. be performed in a single sitting. Throughout The works of German composer Johann the evolution of the genre, the suite has been Jakob Froberger are important to acknowl- described by other musical terms. At best edge when studying the evolution of the these terms help trace the evolution of the suite. Froberger is given credit for refining the genre through function and nationality; at genre through his keyboard suites. The bulk worst these terms serve to confuse the musi- of Froberger’s compositions were completed cologist. These terms include sit, sett, lesson, between 1630 and 1664 (Slonimsky, Kuhn,

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McIntire, 2001). It was his development of Marais composed most of the pieces in a keyboard suite that included dances from Book III of suites for viol and thoroughbass around Europe that gave the movements of between 1700 and 1709. He started compos- the instrumental suite their sequential order. ing and compiling music for this book while It is from these suites for harpsichord that waiting for the 1701 publication of Book II. the baroque suite developed its order of alle- In the preface to Book III, Marais apologizes mande, courante, sarabande, and gigue. The to the reader for the engraver and typesetter allemande is a slow German dance in qua- taking nearly two years to bring the work to druple meter. The courante is a quick French fruition (Kinney, 1966). dance in triple meter. The sarabande is a lan- The music found within Marais’s Suite 4 guid Spanish dance in triple meter. The gigue from Book III of suites provides an excellent is a fast English dance in compound meter. example of Marais’s compositional style. Of Significantly, some of Froberger’s suites add greatest importance, is the fact Marais com- an improvisatory prelude before the suite posed nineteen dance movements for this proper, giving his harpsichord suites the full suite, making it the longest viola da gamba order for what would become the standard suite in the composer’s oeuvre. By the 1711 baroque suite (Fuller, 2001). With dances publication of Book III, the movements of a rooted in four different countries, the suite is suite were generally standardized. Unusually, very cosmopolitan in its construction. Prior Marais offers his most expanded suite form to when J.S. Bach wrote his be- with these nineteen movements: Prélude, tween 1717 and 1723, it had become standard Fantaisie, Allemande, Courante, Sarabande, to insert either two or two bourées La Folette, Gigue, 2nd Gigue, Bourée between the sarabande and gigue of an in- Paysanne, Gavotte, Petit Rondeau, Menuet strumental suite (Fuller, 2001). la Chanterelle, Menuet la Trompette, Double, Rondeau, Plainte, Chaconne, Brillante, and Suite 4 from Marais’s Book III of Charivary. Compositions for Viola da Gamba Though Marais chose an unusual num- ber of movements for this suite, the musical Marais’s Suite 4 from Book III provides an forms he used in the individual dances are excellent case study on how a composer can representative of the baroque period. In these augment a standard genre. This suite has nine- nineteen movements only binary, rondo, teen movements, atypical of the standardized and through-composed forms are used. The plan. Within the first seven movements, we Prélude, Fantaisie, Plainte, Chaconne, and find all the typical dance movements. The Charivary are improvisatory in , do suite opens with a prélude, followed by a not have repeated sections, and represent the fantaisie, allemande, courante, sarabande, through-composed component of this suite. menuet, and a gigue. From there, Marais The Petit Rondeau, Rondeau, and Brillante has added other dance movements such as are all in rondo form. The eleven other move- gavottes, menuets, and rondos. He also adds ments are in binary form. Typical of the ba- purely instrumental genres such as a double, roque era, these binary movements modulate a chaconne, and a brillante (Kinney, 1976). (change ) to the dominant at the end of Though this suite includes many dances, the the first section, begin the second section in composer still includes all the customary the dominant key, and then modulate back to dance styles in nearly sequential order. It is the original tonic key by the end of - important to note that most of the pieces are, ment. In these binary movements, Marais of- like most dance music of this time period, ten elaborates the returning thematic material short in length and in either binary (two part) in the second endings of his B sections. This or rondo (three part) form. Rarely are the elaboration creates expansive endings that pieces over thirty measures long. serve to reinforce the tonic key.

4 Lanson W. Wells

The suite also demonstrates Marais’s col- spread across all of Europe. Amazingly, orful use of . One of the most strik- Marais did not make many tours out- ing features of his language is his side of France, so the widespread appeal of use of chains of suspensions that create major his compositions cannot be underestimated in seventh chord sonorities. These suspension respect to the spread of the composer’s fame chains create an exciting and volatile tonal- (Gorce, Milliot, 2001). ity. Marais uses this compositional technique Two suites also written in the baroque in the Prélude, Courante, Sarabande, and period by J.S. Bach (1685-1750) and G.P. Petite Rondeau of this suite. Another remark- Telemann (1681-1767) stand as excellent ex- able feature of Marais’ style is his mixing of amples of variation within suite form. Bach’s major and minor dominant . The cello suite in (BWV 1008) and Sarabande and Plainte from this suite are Telemann’s viola da gamba suite in excellent examples of the composer’s use of both adhere to the typical suite form, having modal mixture (mixing both major and mi- the common sequence of movements found nor tonalities). Uncharacteristic for baroque in a suite of prelude, allemande, courante, composers, Marais often writes dominant sarabande, minuets, and a gigue. Similar to sub-dominant retrogressions. Examples to Marais’s work, with the exception of the of this type of retrogression are found in préludes, all of the movements in both works the Prélude, Allemande, Petit Rondeau, and are in binary form. Unlike Marais’s suite, Brillante movements. Marais also makes there are no movements set in rondo form. frequent use of the dissonant leading tone Much like Marais’s works, most movements diminished chord. In fact, this chord can be include a modulation to the dominant key be- found within every movement of this work. fore the second section and a modulation back The use of the leading tone diminished chord to tonic key at the end of the second sections. leads to an overall slightly dissonant flavor These works are different from Marais’s suite to the suite. in striking ways. Bach’s melodic material is An exact premiere performance date for the much more developed through each move- Suite 4 from Book III is not known, but it is ment, and Bach makes greater use of har- known that these pieces were composed and monic sequences. The harmonic language is performed at the French court of Louis XIV less dissonant in the Telemann work. Neither between 1700 and 1709 (Kinney, 1976). This work makes heavy use of the dissonant lead- information can be derived from Marais’s ing tone diminished chord or modal mixture own preface to Book III. Of more importance in the way Marais’s work does. is the public’s reaction to the publication of these suites. In his dedication of Book III, The Legacy of Marin Marais which is dedicated directly to the public, Marais expressed his humble thanks to the The life and compositions of Marin Marais public for their purchase of several printings provide major insight into the music of the of his first two books. He also thanks his pub- French baroque. Because of his fifty years lic for demanding a new set of compositions. of employment at the Royal French court, The dedication ends with Marais’s apologies the life and works of Marais are well doc- that nearly ten years had passed since his umented. His connection to Jean-Baptiste last publication. It is important to note that Lully through both Marais’s own composi- Marais’s works were some of the most acces- tions as well as Marais Lully’s sible tutors for the amateur gambist. Marais operas is historically significant. His works directly aimed portions of all five books at provide important historical insight into the this audience of student and amateur viola musical climate of the Royal French court. As da gamba players. It is through these five well, Marais’s editions of his own composi- volumes of suites that the master gambist’s tions provide modern gambists with accurate

5 Explorations |Humanities and Fine Arts information on how to perform the compos- that resonate sympathetically with the bowed er’s works. For many musical instruments, strings. These strings are tuned to a D there is a single composer or performer who major scale with an added low A on the bot- elevates the artistry of that instrument to pre- tom and an additional high E at the top of the viously unknown heights. For the viola da scale. The sympathetic strings can be plucked gamba, the performer and composer is found behind the neck of the instrument by the in in the same person, Marin Marais. It can player’s left thumb, thus adding either a bass be stated emphatically that Marais changed line or a -like . The addition of the history and evolution of viola da gamba these sympathetic strings give the baryton the performance. Above the compositions of possibility of accompanying itself, or playing his viola da gamba playing contemporaries, more than one musical line at once (Sadie, Marais’s works and specific notational sys- Pamplin, 2001). tem provide the most in-depth information Haydn’s are scored for bar- on the historical gamba performance. A the- yton, viola, and cello, and it is likely Haydn oretical analysis of Suite 4 from Book III, himself played the viola part in the first per- and its comparison with works by Bach and formances of these works. It is my belief that Telemann shows how Marais’s work adheres a modern culture of baryton playing exists to and deviates from the standard conventions only because of Haydn’s works for baryton. of the baroque suite. His works for viola da The refined classical beauty of these pieces gamba form a major part of the instrument’s as well as the sonorous texture created by the repertoire, and any or concert audi- instrumentation has directly fueled the mod- ence will find a wealth of compositions to be ern interest in baryton performance. If Haydn enjoyed by generations of gambists and mu- had not written such a wealth of high quality sic lovers to come. of music for the baryton, I believe the instru- ment would be completely forgotten by mu- Franz Joseph Haydn and the Baryton sicians and musicologists.

For nearly thirty years, Franz Joseph A Biography of Franz Joseph Haydn Haydn was composer and to the Esterházy court. Haydn’s court posi- Franz Joseph Haydn was born in the town of tion required frequent new compositions in Rohrau, on March 31, 1732. Haydn many genres, including symphonies, cham- was born into a working class family; his fa- ber music, sacred music, operas, , ther Mathias Haydn was a successful wheel- and instrumental solos. Haydn’s duties also wright and village magistrate. Prior to her included daily performances, conducting, marriage, his mother Anna Maria Köller had rehearsing and managing the court chamber worked as a cook in the court of Count Karl and opera , and playing chamber Anton Harrach. Though neither of Haydn’s music with his employer. parents were professional musicians, mu- It was for his royal patron Prince Nikolaus sic was an important part of the household. Esterházy that Haydn composed 125 baryton Haydn’s father played the harp and accom- trios. Nikolaus played the baryton, which is panied folk tunes sung by Haydn’s mother. one of the most unusual bowed and fretted Music had such a strong effect in the Haydn string instruments found in the classical lit- home that all three surviving male children erature. The baryton is a variant of the viola became professional musicians (Webster, da gamba and is similar in size and tuning Feder, 2001). to the bass viola da gamba. Much like the Joseph Haydn’s musical talent was notice- viola da gamba, the baryton includes seven able at an early age. At age six he was sent to bowed gut strings and a fretted . live with his cousin, Johann Franck, for fur- The baryton has ten additional wire strings ther training. The village of Rohrau offered

6 Lanson W. Wells little chance for musical training and living and symphonies date. with his cousin, who was choirmaster and In 1761 Haydn was appointed Kapellmeister schoolmaster of the city of Hainburg, offered to the house of Esterházy. Haydn would stay Haydn a chance for formal education. Though in this position as music director to the most- he lived in poverty and was often hungry, wealthy court in Austria for nearly three Haydn excelled in his studies in voice, harp- decades. During his service to both Prince sichord, and violin while living in the Franck Paul Anton (until 1762) and Price Nikolaus I household (Slonimsky, Kuhn, McIntire, (1762-1790), Haydn composed the vast ma- 2001). During his two years in Hainburg, jority of his mature musical works. While at Haydn attracted public attention through court Haydn adhered to an immense work- his beautiful singing. In 1739, Haydn’s fine load that included the constant composition soprano voice gained him an audition with of new works for keyboard, chamber groups, Georg Von Reutter, who was the music di- as well as symphonies. Haydn’s duties also rector of St. Stephen’s Cathedral in . included daily performances, conducting, Haydn would spend the next nine years, from rehearsing and managing the court chamber 1740 to 1749, as a chorister at St. Stephen’s and opera orchestras, and playing chamber Cathedral. Haydn was able to continue his music with his employer (Webster, Feder, musical studies while at St. Stephens, though 2001). little or no was offered as part From 1761 to 1779, all the compositions of Haydn’s education. Mirroring his time in Haydn produced belonged strictly to the Hainburg, Haydn often complained of - court of Esterházy. In 1779 a new contract ger during his years at St. Stephens. allowed Haydn to take outside commissions In 1749, at age seventeen, Haydn’s voice and to sell to multiple publishers. The entre- changed and he was no longer able to sing preneurial Haydn used his new freedom to soprano parts. As a result he was dismissed greatly increase both his wealth and fame. as a chorister and forced to make his living This change in Haydn’s contract prompted as a freelance musician. During this time pe- the composer to concentrate upon symphonic riod Haydn worked as a music teacher and and chamber composition rather than operas. voice instructor, performed in local pit or- The death of Prince Nikolaus I in 1790 al- chestras, and most importantly worked as lowed Haydn his first opportunity for travel. an assistant and accompanist to then-famous No longer needed for daily Kapellmeister opera composer . It was from duties, Haydn accepted on offer from con- Porpora that Haydn received his first for- cert manager Peter Solomon to perform in mal composition lessons (Slonimsky, Kuhn, England. Haydn made two successful long McIntire, 2001). As well as lessons with trips to England, the first from 1791 to 1792 Porpora, Haydn took it upon himself to study and the second from 1794 to 1795. Many of the exercises of Joseph Fux and the late symphonies were composed for or the works of Carl Philipp Emanuel Bach. during Haydn’s time in England. Haydn’s first public success, and an increased In 1795 Haydn returned to Austria and re- reputation, came with the 1753 comic opera claimed his position as Kapellmeister to the The Limping Devil. Esterházy court, though he worked only part- Upon the recommendation of Porpora, time and with reduced duties. During this last Haydn received his first patronage, as compositional period Haydn concentrated on Kapellmeister to . During his sacred oratorios. By 1802 declining health tenure from 1757 to 1760, Haydn’s duties prevented Haydn from composing, and the included composition of chamber and sym- great composer spent most of his time at his phonic works as well as leading the small estate. Franz Joseph Haydn died at age sev- court chamber orchestra. It is from this pe- enty seven on May 31, 1809. riod that the composer’s first string Haydn’s Chamber Music Compositions

7 Explorations |Humanities and Fine Arts for Baryton personal enjoyment, or for performance in a small hall for a limited audience (Bashford, All 125 of Haydn’s baryton trios were com- 2001). The term trio denotes a composition posed early in his tenure as Kapellmeister to for three instruments. It is an outgrowth of an the Esterházy family, likely between 1765 older form of chamber music, the trio sonata and 1778. The trios were collected and bound of the Baroque period (Schwandt, 2001). in six volumes for the Prince, dated 1766, Two comparable chamber music trios can 1767, 1768, 1771, and 1778. There is some be found in the oeuvres of Luigi Tomasini evidence that the final set of trio’s were writ- and W.A. Mozart. The works of these two ten in 1775 and not bound until 1778. The composers provide an apt comparison be- entire set of trios falls within the Sturm und cause both composers were exact contempo- Drang period of Haydn’s compositional style raries as well as personal friends of Haydn. (Clark, 2005). W.A. Mozart (1756-1791) and Haydn first Haydn’s Baryton Trio in D Major, Hob. XI: met around 1784, though both composers 113, offers an excellent example of the clarity were likely to have already been familiar of his melodic writing as well as insight to his with the other composer’s work and reputa- use of form, structure, and the classical style. tion. As seen through their personal letters, Like many of the baryton trios, Hob. XI: 113 it is evident that both greatly respected each is a three movement work that starts with a other. Haydn championed the ability and slow movement (Adagio), followed by a fast compositions of Mozart, and Mozart ded- movement (Allegro di molto), and ends with icated the six string quartets in Opus. 33 a fast dance movement (Menuet-Allegretto). to Haydn. It is also likely that Mozart and The slow movements, in this case an Adagio Haydn occasionally played string quartets to- written in binary (two part) form, feature gether, Haydn playing the first violin part and Haydn’s beautiful cantabile melodic writing. Mozart playing the viola part (Slonimsky, These singing are almost always Kuhn, McIntire, 2001). Mozart only wrote played only by the baryton. The first nine one , in Eb Major, K. measures of the movement, which is the pre- 563, scored for violin, viola, and cello. This sentation of the first theme, is an excellent ex- work, though similar in style to Hob. XI: ample of Haydn’s cantabile style. In the slow 113, highlights several major differences in movements of the baryton trios the viola and its composition. This four-movement work cello are usually given accompanimental fig- features highly active and independent parts ures, thus making the movement similar to an for each of the three instruments. In Haydn’s accompanied operatic . In this particular work, the melodic material is centered in movement Haydn makes notable use of the the baryton, while the viola and cello fill plucked strings of the baryton through punc- harmonic and textural roles. Mozart’s work tuating the opening of phrases with plucked includes much greater development of me- notes as seen in the first two phrases. A harp- lodic ideas and less repetition than Hob. XI: like melody is found in the last five measures 113. This is partly due to the fact that Prince of the movement. Esterházy was an amateur musician, and in The Baryton Trio in D Major Hob. XI: part due to Haydn’s clear use of melody and 113 falls into the genre of chamber music form. K. 563 includes more dramatic mod- and more specifically the trio. References ulations to distant keys than Hob. XI: 113. to the term chamber music are first found This is likely due to the tuning and nature of in the mid-16th century. The term widely the baryton. D major and the related keys of denotes a small ensemble of instruments or , A major, Major, and E major, as singers with parts played or sung one person well as their parallel minor keys are the most on a part. Chamber music in the classical era accessible on the baryton (Fruchtman, 1962). was intimate music performance for either It is noted that Prince Esterházy’s ability

8 Lanson W. Wells upon the instrument dictated the form and of the idiomatic instrument specific writing difficulty of the music Haydn wrote for his in Haydn’s baryton works. It is because of the patron. strength, quality, and number of Haydn’s bar- Luigi Tomasini (1741-1808) was Haydn’s yton compositions that modern day record- friend and coworker at the court of Esterházy. ings and performances upon the baryton ex- From 1756 to 1790 Tomasini was a first vio- ist. Without these masterworks, the baryton linist in the Esterházy court orchestra. Several would have become an antiquated topic for of Haydn’s violin concerti were dedicated to music history instead of an instrument with a Tomasini, and it is very likely Tomasini gave growing modern tradition. the first performances of many of Haydn’s chamber works. A composer himself, Modern Viola da Gamba and Baryton Tomasini wrote thirty string quartets, several Performance and Resources violin concerti and , and most impor- tantly twenty-four baryton trios (Slonimsky, The compositions for viola da gamba by Kuhn, McIntire, 2001). These trios are writ- Marin Marias and the works for baryton by ten in the same instrumentation as Haydn’s Joseph Haydn are some of the most important trios, though several substitute the viola compositions ever written for their respective part with a violin part. Tomasini’s composi- instruments. It is both the quality and number tion, baryton trio in K. 19, shares of these masterworks that has allowed these many characteristics with Hob. XI: 113. Like two instruments to survive through history, Haydn’s work this piece is written in three and to enjoy a renaissance of interest in mod- movements: Allegro spiritoso, Menuetto and ern times. Since the 1960s, the ever-growing Trio, and Rondo. Also similar to Haydn’s community has embraced these work the first movement is in binary form dynamic and exciting musical works. There and the baryton presents the melodic material are many fine viola da gambists teaching and throughout the work. A final similarity is seen performing throughout the world, and there in the accompanimental roles of the viola and are several performers who have special- cello. The similar structure and composition ized in championing the baryton works of of K. 19 and Hob. XI: 113 gives credence Haydn. Due to this, interest in both the viola that these works were composed specifically da gamba and the baryton can only be ex- to suit Prince Esterházy’s tastes and abilities. pected to grow. Recordings by gambists such as , Hille Perl, and John Hsu are The Long Lasting Impact of Haydn’s recommended listening and starting points Baryton Compositions for learning. The Austria based ensemble, The Esterházy Ensemble, founded by bary- The beautiful singing melodies and clear tonist Michael Brussing has made the only classical form found in Franz Joseph Haydn’s complete recording of all of Haydn’s baryton baryton trios, coupled with the pragmatic works. John Hsu has also recorded several al- instrument specific writing has directly- af bums of Haydn’s baryton works. fected the present renaissance of baryton Many of these compositions are accessible performance. Since the modern publication to the early music community through fac- of Haydn’s baryton works, which began in similes of original manuscripts. There are the early 1960s, the early music commu- also many of these works which have be tran- nity has embraced these insightful and dy- scribed in modern editions, for performances namic works. I believe that any musician by contemporary musicians equipped with or concert goer who wishes to explore these modern instruments. Often, Marais’s works exciting works by Haydn must have an un- are played by the cello or the viola, modern derstanding of Haydn’s employment at the day instruments which are the closest to the Esterházy court, as well as an understanding viola da gamba. The baryton works of Haydn

9 Explorations |Humanities and Fine Arts have been transcribed for viola, cello, trom- resources, as well as classified ads for- in bone, and ensemble. strument sales. For the baryton, The There are several excellent resources for based International Baryton Society serves as those who wish to learn more about the vi- the most important center of baryton schol- ola da gamba or the baryton. For the viola arship and performance. The IBS, run by da gamba, The Viola da Gamba Society of barytonist Jordan Brooker has produced an America is on the forefront of scholarship index of all contemporary baryton works, and performance upon the viola da gamba, and hopes to publish a complete index of all and provides access the largest community of recorded and published baryton composi- interested gambists in the world. To further tions. The International Baryton Society has performance upon the instrument, The VGSA commissioned many new works for baryton runs the largest gamba rental programs in by British composers. Its small but growing the world. The Viola da Gamba Society of membership provides the most extensive bar- America offers a quarterly journal, yearly yton resources in the world. gamba rentals, a week-long yearly summer festival, masterclasses, teacher and student

Reference List

Bashford, C. (2001). Chamber Music. In Sadie, S. (Ed.). The New Grove dictionary of music and musicians (2nd ed., Vol. 5, pp. 434-448). London: Macmillan. Clark, C. (2005). The Cambridge Companion to Haydn. Cambridge, UK: Cambridge University Press. Fruchtman, E. (1962). The Baryton: Its History and Its Music Re-examined. Acta Musicologica, 34, 2-17 Fuller, D. (2001). Suite. In Sadie, S. (Ed.). The New Grove dictionary of music and musicians (2nd ed, Vol.16, pp. 665-684). London: Macmillan. Gammie, I. (1989). Marin Marais translated: an English translation of the playing instructions in Pieces de viole by Marin Marais. Centennial, CO: Golden Phoenix. Gerlach, S. (1981). The Reconstructed Original Version of Haydn’s Baryton Trio Hob. XI:2. In Larsen, J., Serwer, H., Webster, J., (Ed.). Haydn Studies: proceedings of the International Haydn Conference, Washington, D.C., 1975 (1st ed., pp 84-87). New York: W.W. Norton & Company, Inc. Gorce, J., Milliot, S. (2001). Marais, Marin. In Sadie, S. (Ed.). The New Grove dictionary of music and musicians (2nd ed., Vol. 15, pp. 795-797). London: Macmillan. Gotwals, V. (1968). Haydn two contemporary portraits. Madison, WI: The University of Wisconsin Press. Irving, J., Mangsen, S., Rink, J. (2001). Sonata. In Sadie, S. (Ed.). The New Grove dictionary of music and musicians (2nd ed., Vol. 23, pp. 671-683). London: Macmillan. Kinney, G. (1966). Marin Marais as Editor of His Own Compositions. Journal of the Viola da Gamba Society of America, 3, 5-16 Kinney, G. (1968). Problems of Melodic Ornamentation in French Viol Music. Journal of the Viola da Gamba Society of America, 5, 34-50 Kinney, G. (1976). Preface. In G. J. Kinney (Ed.), Marin Marais: Six Suites for Viol and Thoroughbass (pp. vii-xxi). Madison, WI: A-R Editions. Landon, J., Jones, D. (1988). Haydn His Life and Music. Bloomington, IN: Indiana University Press. Pelley, J. (1986). A Transcription for Cello and of Six Trios by Joseph Haydn, With a

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History of the Baryton. Eugene, OR: University of Oregon Press. Sadie, J., Pamplin, T. (2001). Baryton. In Sadie, S. (Ed.). The New Grove dictionary of music and musicians (2nd ed., Vol. 4, pp. 828-831). London: Macmillan. Schwandt, E. (2001). Trio. In Sadie, S. (Ed.). The New Grove dictionary of music and musicians (2nd ed., Vol. 25, pp. 743). London: Macmillan. Slonimsky, N., Kuhn, L., & McIntire, D. (2001). Bach, Johann Sebastian. In Slonimsky, N. (Ed.). Baker’s Biographical dictionary of musicians (2nd ed., Vol.1, pp 161-172). New York: Schirmer. Slonimsky, N., Kuhn, L., & McIntire, D. (2001). Froberger, Johann Jakob. In Slonimsky, N. (Ed.). Baker’s Biographical dictionary of musicians (2nd ed., Vol. 2, pp 1191). New York: Schirmer. Slonimsky, N., Kuhn, L., & McIntire, D. (2001). Haydn, Franz Joseph. In Slonimsky, N. (Ed.). Baker’s Biographical dictionary of musicians (2nd ed., Vol. 3, pp 1495-1499). New York: Schirmer Slonimsky, N., Kuhn, L., & McIntire, D. (2001). Marais, Marin. In Slonimsky, N. (Ed.). Baker’s Biographical dictionary of musicians (2nd ed., Vol. 4, pp 2273-2275). New York: Schirmer. Slonimsky, N., Kuhn, L., & McIntire, D. (2001). Mozart, Wolfgang Amadeus. In Slonimsky, N. (Ed.). Baker’s Biographical dictionary of musicians (2nd ed., Vol. 4, pp. 2529- 2538). New York: Schirmer Slonimsky, N., Kuhn, L., & McIntire, D. (2001). Tomasini, Alois Luigi. In Slonimsky, N. (Ed.). Baker’s Biographical dictionary of musicians (2nd ed., Vol. 6, pp. 3658). New York: Schirmer Teplow, D. (1986). Performance practice and technique in Marin Marais’ Piece de viole. Ann Arbor, MI: UMI Research Press. Webster, J., Feder, G. (2001). Haydn. In Sadie, S. (Ed.). The New Grove dictionary of music and musicians (2nd ed., Vol. 11, pp. 171-271). London: Macmillan.

Viola da Gamba and Baryton Societies

The Viola da Gamba Society of America PO Box 582628 Minneapolis, MN 55458-2628 Phone: 1-855-VIOL-415 (1-855-846-5415) www.vdgsa.org

The International Baryton Society Jeremy Brooker 24 Holmesdale Road London N65TQ United Kingdon www.barytonsociety.com

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