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The Solo Violin Works of Bach and Telemann

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The Solo Violin Works of Bach and Telemann The Solo Violin Works of Bach and Telemann: A Comparison of Formal and Stylistic Models and Fugal Writing for Solo Violin Chi Lui Flora Wong BMus (Music Performance) Hons I GCMusSt GradDipPMus A Mus A A thesis submitted for the degree of Master of Philosophy at The University of Queensland in 2015 School of Music i Abstract Johann Sebastian Bach and Georg Philipp Telemann both composed sets of works for solo violin. Bach’s Six Solos for Violin without Accompanying Bass, BWV 1001–1006 (commonly referred to as his Six Sonatas and Partitas for Solo Violin) and Telemann’s Twelve Fantasies for Violin without Bass, TWV 40:14–25 were written only fifteen years apart, yet vary greatly in their scope and the challenges that they present the performer. This study aims to guide the modern performer towards a deeper technical, stylistic and structural understanding of the works, as well as providing practical performance suggestions for some of the technical challenges presented by the music. Outlines of how each composer achieved a balance of unity and variety in the structure and style of their works are provided, while particular attention is given to the fugal movements in each set. The idiomatic violin techniques employed by each composer to achieve variety, polyphony and harmonic complexity in their fugues for solo violin are examined. ii Declaration by author This thesis is composed of my original work, and contains no material previously published or written by another person except where due reference has been made in the text. I have clearly stated the contribution by others to jointly-authored works that I have included in my thesis. I have clearly stated the contribution of others to my thesis as a whole, including statistical assistance, survey design, data analysis, significant technical procedures, professional editorial advice, and any other original research work used or reported in my thesis. The content of my thesis is the result of work I have carried out since the commencement of my research higher degree candidature and does not include a substantial part of work that has been submitted to qualify for the award of any other degree or diploma in any university or other tertiary institution. I have clearly stated which parts of my thesis, if any, have been submitted to qualify for another award. I acknowledge that an electronic copy of my thesis must be lodged with the University Library and, subject to the policy and procedures of The University of Queensland, the thesis be made available for research and study in accordance with the Copyright Act 1968 unless a period of embargo has been approved by the Dean of the Graduate School. I acknowledge that copyright of all material contained in my thesis resides with the copyright holder(s) of that material. Where appropriate I have obtained copyright permission from the copyright holder to reproduce material in this thesis. iii Publications during candidature No publications. Publications included in this thesis No publications included. Contributions by others to the thesis No contributions by others. Statement of parts of the thesis submitted to qualify for the award of another degree None. iv Acknowledgements I would like to acknowledge the support of my academic advisor, Dr. Denis Collins, and my practical advisor, Mr. John Curro. v Keywords baroque, music, solo violin, Bach, Telemann, solo, sonata, partia, partita, fantasia Australian and New Zealand Standard Research Classifications (ANZSRC) ANZSRC code: 190409, Musicology and Ethnomusicology, 100% Fields of Research (FoR) Classification FoR code: 1904, Performing Arts and Creative Writing, 100% vi Table of Contents Abstract .............................................................................................................................. i Declaration by author ....................................................................................................... ii Acknowledgements ......................................................................................................... iv Table of Contents ............................................................................................................ vi List of Musical Examples ............................................................................................... vii List of Tables .................................................................................................................. vii Introduction ...................................................................................................................... 1 Chapter 1: Background to the Works ............................................................................... 3 Chapter 2: Form and Style in Bach’s Six Solos and Telemann’s Twelve Fantasias ........ 9 Chapter 3: Bach’s and Telemann’s Fugal Writing for Solo Violin ................................ 21 Conclusion ...................................................................................................................... 29 Bibliography ................................................................................................................... 31 vii List of Musical Examples Ex. 1 Bach: Siciliana of Sonata I, bars 1–2 .................................................................... 12 Ex. 2 Telemann: Siciliana of Fantasia VI, bars 1–4 ....................................................... 12 Ex. 3 Telemann: Siciliana of Fantasia IX, bars 1–2 ....................................................... 13 Ex. 4a Bach: Allegro of Sonata II, bars 1–4 ................................................................... 15 Ex. 5a Telemann: Allegro of Fantasia V, bars 1–4 ........................................................ 15 Ex. 6 Bach: Allegro assai of Sonata III, bars 1–4........................................................... 16 Ex. 7 Bach: Giga of Partia II, bars 10–13 ....................................................................... 18 Ex. 8 Telemann: Allegro of Fantasia IV, bars 1–6 ......................................................... 18 Ex. 9a Bach: Preludio of Partia III, bars 13–16 .............................................................. 18 Ex. 10 Telemann: Allegro of Fantasia XII, bars 1–4...................................................... 19 Ex. 11 Telemann: Spirituoso of Fantasia XIII, bars 1–4 ................................................ 20 Ex. 12 Telemann: Vivace of Fantasia IX, bars 1–4 ........................................................ 20 Ex. 13 Bach: Fuga of Sonata I, bars 1–2 ........................................................................ 22 Ex. 14 Telemann: Presto of Fantasia III, bars 1–5 ......................................................... 22 Ex. 15 Telemann: Allegro of Fantasia I, bars 1–3 .......................................................... 22 Ex. 16 Bach: Fuga of Sonata III, bars 1–4...................................................................... 23 Ex. 17 Telemann: Presto of Fantasia VI, bars 1–15 ....................................................... 23 Ex. 18 Telemann: Presto of Fantasia VI, bars 43–47 ..................................................... 23 Ex. 19 Telemann: Presto of Fantasia VI, bars 76–80 ..................................................... 23 Ex. 20 Bach: Fuga of Sonata II, bars 1–3 ....................................................................... 24 Ex. 21 Telemann: Allegro of Fantasia II, bars 1–8 ........................................................ 24 Ex. 22 Telemann: Allegro of Fantasia I, bars 24–29 ...................................................... 25 Ex. 23 Telemann: Allegro of Fantasia II, bars 11–18 .................................................... 25 Ex. 24 Bach: Fuga of Sonata III, bars 201-205 .............................................................. 27 Ex. 25 Telemann: Presto of Fantasia X, bars 1–9 .......................................................... 27 Ex. 26 Bach: Fuga of Sonata I, bars 42–44 .................................................................... 28 Ex. 27 Bach: Fuga of Sonata II, bars 112–115 ............................................................... 28 Ex. 28 Bach: Fuga of Sonata III, bars 171–175.............................................................. 28 List of Tables Table 1 Movement types in Telemann's Fantasias for solo violin ................................... 9 Table 2 Movement types in Bach's Sonatas for solo violin ............................................ 11 Table 3 Movement types in Bach's Partias for solo violin ............................................. 16 1 Introduction Johann Sebastian Bach’s cycle of Six Solos for Violin without Accompanying Bass, BWV 1001–1006 (commonly referred to as his Six Sonatas and Partitas for Solo Violin) occupy a prominent place within the instrument’s repertory, lauded by performers and scholars for its synthesis of instrumental mastery and compositional innovation. However, it is by no means the only contemporary example of a set of harmonically and contrapuntally compelling works for solo violin, a primarily melodic instrument with limited capacity for chordal and contrapuntal textures. Georg Philipp Telemann’s Twelve Fantasias for Violin without Bass, TWV 40:14–25 were written almost contemporaneously to Bach’s Six Solos, and display remarkable variety in both instrumental and formal compositional techniques. This study, prompted by the practical components of the Master of Philosophy (Music Performance) degree and offering the perspective of a performer
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