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A Performance Guide to Max Bruch's Double Concerto, Opus 88

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A Performance Guide to Max Bruch's Double Concerto, Opus 88 A Performance Guide to Max Bruch’s Double Concerto, Opus 88, According to the German Style A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Performance Studies Division of the College-Conservatory of Music Violin March 2018 by Gi Yeon Koh B.M., Sookmyung Women’s University, Korea, 2005 G.P.D., M.M., Peabody Institute of the Johns Hopkins University, 2007, 2008 A.D., M.M., University of Cincinnati, 2011, 2013 Committee Chairs: Won-Bin Yim, D.M.A. Table of Contents List of Tables iii List of Figures iii List of Musical Examples iv Acknowledgements vii Abstract viii Chapter I. Introduction 1 A. Development of the Standard Violin and Viola Repertoire B. Development of the Violin and Viola Concerto C. The Double Concerto Chapter II. Max Bruch 10 A. Works for Violin and Viola B. Romanzes, Opp. 42 and 85 C. Double Concerto, Op. 88 Chapter III. The German Violin School in the Romantic Era 22 A. The Franco-Belgian and German Schools B. History and Representatives of the German School C. German Romantic Composers and the German School D. German School Style and Bruch’s Op. 88 Chapter IV. The Romantic German Style in Bruch’s Double Concerto 33 A. Phrasing 33 1. Bowing (slur) a. Beginning and ending of bars (or passages) b. Crescendo and decrescendo c. Character of ending 2. Staccato 3. Separation 4. Agogic accent i B. Portamento 44 1. Where to play portamento 2. Types a. Old finger b. New finger c. Finger pattern C. Vibrato 48 1. Where to use vibrato a. On longer note values b. On longer note values involving dynamic changes c. Between accented notes and vibrated tones d. On strong beats e. At the beginning and end of portamento 2. Where not to use vibrato a. Passagework b. Open strings 3. Types a. Quick b. Slow c. Accelerating d. Decelerating D. Tempo rubato 61 a. After ascending or descending scales b. At the end of a long progression of notes c. Exceptional passages or expressive structure d. Expressive notes or passages Conclusion 70 Appendix 71 Bibliography 75 ii List of Tables Table 1. Composers of works for solo violin and viola by era 71 Table 2. 19th- and 20th-century one-movement works for solo violin or viola with orchestra 72 Table 3. Popular works for solo violin or viola by Mendelssohn, Schumann, and Brahms 72 Table 4. Bruch’s works for solo violin or viola with orchestra 72 Table 5. Publication history of Bruch’s Opp. 42, 85, and 88 73 Table 6. Recordings of Romanze for Violin, Op.42, and Romanze for Viola, Op.85 73 Table 7. Double concertos for solo violin and solo cello or solo viola 74 List of Figures Figure 1. The four types of vibrato speed discussed by Spohr in Violinschule (1832) 59 iii List of Musical Examples Chapter II: Example 2.1. Bruch, Double Concerto, Op.88, first movement, mm. 1-8, solo violin and viola with piano. Example 2.2. Bruch, Violin Concerto No. 1 in G minor, Op.26, first movement, mm. 1-10, solo violin. Example 2.3. Bruch, Violin Concerto No. 2 in D minor, Op. 44, second movement, mm. 1-10, solo violin with piano. Chapter IV.A: Phrasing Example 4.1.1. Bruch, Double Concerto, Op.88, first movement, mm. 9-12, solo violin and viola. Example 4.1.2. Bruch, Double Concerto, Op.88, first movement, mm. 59- 68, solo violin and viola. Example 4.1.3. Bruch, Double Concerto, Op.88, third movement, mm. 235-255, solo violin. Example 4.1.4. Bruch, Double Concerto, Op.88, third movement, mm. 105-109, solo violin. Example 4.1.5. Bruch, Double Concerto, Op.88, third movement, mm. 97-105, solo viola. Example 4.1.6. Bruch, Double Concerto, Op.88, third movement, mm. 392-409, solo violin and viola. Example 4.1.7. Bruch, Double Concerto, Op.88, third movement, mm. 417-433, solo violin and viola. Example 4.1.8. Bruch, Double Concerto, Op.88, first movement, mm. 88-95, solo violin and viola. Example 4.1.9. Bruch, Double Concerto, Op.88, third movement, mm. 313-319, solo violin. Example 4.1.10. Bruch, Double Concerto, Op.88, third movement, mm. 417-441, solo violin and viola. Example 4.1.11. Bruch, Double Concerto, Op.88, first movement, mm. 41-46, solo violin and viola. iv Chapter IV.B: Portamento Example 4.2.1. Bruch, Double Concerto, Op.88, first movement, mm. 13-15, solo violin. Example 4.2.2. Bruch, Double Concerto, Op.88, first movement, mm. 79-80, solo violin. Example 4.2.3-1. Bruch, Double Concerto, Op.88, third movement, mm. 193-195, solo violin. Example 4.2.3-2. Bruch, Double Concerto, Op.88, third movement, mm. 89-93, solo viola. Chapter IV.C: Vibrato Example 4.3.1. Bruch, Double Concerto, Op.88, second movement, mm. 217-235, solo violin and viola. Example 4.3.2. Bruch, Double Concerto, Op.88, first movement, mm. 59- 68, solo violin and viola. Example 4.3.3-1. Bruch, Double Concerto, Op.88, third movement, mm. 417-433, solo violin and viola. Example 4.3.3-2. Bruch, Double Concerto, Op.88, first movement, mm. 17-34, solo violin and viola. Example 4.3.4. Bruch, Double Concerto, Op.88, third movement, mm. 417-433, solo violin and viola. Example 4.3.5-1. Bruch, Double Concerto, Op.88, first movement, mm. 13-15, solo violin. Example 4.3.5-2. Bruch, Double Concerto, Op.88, first movement, mm. 79-80, solo violin. Example 4.3.6-1. Bruch, Double Concerto, Op.88, third movement, mm. 191- 198, solo violin and viola. Example 4.3.6-2. Bruch, Double Concerto, Op.88, third movement, mm. 235- 255, solo violin and viola. Example 4.3.7-1. Bruch, Double Concerto, Op.88, second movement, mm. 231- 235, solo viola. Example 4.3.7-2. Bruch, Double Concerto, Op.88, third movement, mm. 458- 465, solo viola. Example 4.3.8. Bruch, Double Concerto, Op.88, first movement, mm. 1-16, solo violin and viola. v Example 4.3.9. Bruch, Double Concerto, Op.88, second movement, mm. 217-235, solo violin and viola. Example 4.3.10. Bruch, Double Concerto, Op.88, first movement, mm. 59- 68, solo violin and viola. Chapter IV.D: Tempo rubato Example 4.4.1-1. Bruch, Double Concerto, Op.88, third movement, mm. 235-255, solo violin. Example 4.4.1-2. Bruch, Double Concerto, Op.88, third movement, mm. 52-89, solo viola. Example 4.4.2. Bruch, Double Concerto, Op.88, first movement, mm. 88-107, solo violin and viola. Example 4.4.3. Bruch, Double Concerto, Op.88, first movement, mm. 1-16, solo violin and viola. Example 4.4.4. Bruch, Double Concerto, Op.88, third movement, mm. 183-199, solo violin. vi Acknowledgements I give deepest thanks to my parents, Dr. Kwang Song Koh, M.D. and Ms. Myung Hee Bae; my brother, Dr. Jae Han Koh, M.D.; and my sister in law, Ms. Kyunghwa Kim. They have all believed in and encouraged me. I would not be able to complete this achievement without their support. I would like to express my deep appreciation and gratitude for my two advisors, Dr. Won-Bin Yim and Dr. Catharine Lees. Both not only taught me the violin and viola, but also have been significant role models for me personally and professionally. I’d like to congratulate the marriage of Dr. Lees to Mr. Timothy Lees, concertmaster of Cincinnati Symphony Orchestra and one of the readers of my document; I am happier than ever now to work with you both. I also wish to congratulate Dr. Yim on his marriage to Mrs. Victoria Yim; I am so inspired by the happiness they have together. I have great appreciation for my mentor, Ms. Jonghwa Hong, Professor of Violin at Sookmyung Women’s University; and for Dr. Myung Hee Chung, Professor of Music at University of Wisconsin - Whitewater. My English tutor and editor, Rebekka Gold, was always willing to help me and worked meticulously. To my friends Jaeeun Lee, Scott Jackson, the Han sisters, Heewon Woo, Nahyun Lim, and Bokyung Kim, I hope we will always encourage and support each other as we do now. Thanks to my lovely friends, I was able to enjoy this remote Cincinnati area where I have no family. I love you all. Lastly, including above all people I mentioned, I hope that everyone around me will always be able to live a healthy and pleasant life. vii Abstract The double concerto and its variants, such as concerti grossi, was a popular genre in the Baroque era; in the Classical era, however, most composers shifted their focus to the composition of concerti for solo instruments. The double concerto reappeared in the Romantic era, now written for two soloists with orchestra. A notable contribution to this repertoire is the Double Concerto for clarinet and viola in E minor, Op. 88 (1911) by the prolific German composer Max Bruch (1838-1920). The Double Concerto was transcribed for violin and viola as well. This document will serve as a performance guide for Bruch’s Double Concerto as it pertains to the violin and viola transcription. I will broadly describe performance practice for the piece within the context of the German Violin School developed by Louis Spohr (1784-1859), addressing technical issues such as phrasing, portamento, vibrato, and tempo rubato according to Spohr’s ‘fine style’.
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