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University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 76-3360 FAIRBANKS, Ann Itozuch, 1942* MUSIC for TW3, THREE

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University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 76-3360 FAIRBANKS, Ann Itozuch, 1942* MUSIC for TW3, THREE INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce diis document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. Silver prints of "photographs" may be ordered at additional charge by writing the Order Department, giving the catalog number, title, author and specific pages you wish reproduced. 5. PLEASE NOTE: Some pages may have indistinct print. Filmed as received. University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 76-3360 FAIRBANKS, Ann Itozuch, 1942* MUSIC FOR TW3, THREE. A^n FOUR FLUTES BY FRIEDRICH KUHLAU. The Ohio State University, D.M.A., 1975 Nftjsic Xerox University Microfilms,Ann Arbor, Michigan4810 e THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED. I-ÏÏ/SIC FOR TWO, THREE, AND FOUR FLUTES BY FRIEDRICH KUHLAU D0CUÎ-1EWT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of I-Jusical Arts in the Graduate School of The Ohio State University Ann Kozuch Fairbanks, B. l-îus,, M. A. T. it * # * * The Ohio S ta te Iftiiversity 1975 Reading Committee: Approved Dr. Keith E, Mxter Dr. Robert A. Titus Dr. Donald E. McGinnis Dr. James E. Westbrook _ Adviser / School of Music PREFACE There is hardly an accomplished flu tist today who has not had the pleasure of playing the music of Friedrich Kuhlau, Being intrigued by the popularity of his works, I should like to discuss their impo3>- tance in the genre of flute literature, looking as well at the life and other ivorks of Kuhlau and possible influences of other composers upon his writing. Kuhlau made a sizeable contribution to the chamber music for two, three, and four flutes, and it is particularly these areas which will be examined. Most of the information concerning Kuhlau stresses his activi­ ties as an opera composer, and although he wrote much instrumental chamber music, this area has never been assessed. There are two major sources devoted to Kuhlau which follow the pattern just described. The first is Friedrich Kuhlau by Carl Thrane, a German translation from "Danske Komponister, " This monograph was published by Breitkopf und Hfirtel in 1886 on the 100th anniversary of the composer's birth- date. The second la rg e work is a d is se rta tio n from th e Ludwig-l-laxi- milian University of Ikmich, written by Karl Graupner in 1930. The l a t t e r is based to a la rg e extent on T hrane's vrork. Just recently, another study devoted to Friedrich Kuhlau has appeared. It is entitled Das C-dur-Klavierkonzert Opus 2 und die ii Klaviersonaten von Friedrich Kuhlau^ ly Jdm-L, Beirafohr. This work has been very useful for it presents much valuable information con­ cerning thy composer which is outside the scope of the piano composi­ tions themselves. An additional bibliographical aid of importées for the investigation of Kuhlau's music is a thematic catalog of his printed wrks by Dan Fog, 2 it was in preparation in 1972, but as far as this writer can ascertain, it has not yet appeared. I would lilce to convey ray deepest appreciation to ray adviser. Dr. Keith E. Mixter, for his generous and invaluable assistance in the preparation of this document. % gratitude is also e:ç>ressed to all ray flute-playing friends, vdio have contributed to ny pleasure by playing with me the music of Friedrich Kuhlau. ^Hamburg: Karl D ieter Wagner, 1971, 2 Vols. 2copenhagen. Cited in Bany S. Brook, Thematic Catalogs in Music (Hillsdale, New York: Pendragon Press, 1972), p. LV5. i i i MUSIC FOR TVfO, THREE, AND FOUR FLUTES BY FRIEDRICH KUHLAU TABLE OF CONTEMTS Page PREFACE i i CHAPTER I . BIOGRAPHY 1 I I . GENERAL BACKGROUND 11 Kvihlau's Relationship to the Flute The Pre-Boehm F lute i l l . MUSIC FOR TWO FLUTES ' 18 The F lu te Ducts The Grand Trio Concertante IV. THE FLUTE TRIOS 36 V. THE FLUTE QUARTET 53 VI. CONCLUSION 68 APPENDICES A. CATEGORICAL LISTING OF KUHLAU'S MUSIC FOR FLUTE 70 B. PUBLICATION INFORMATION 72 C. CONTEt'ffORARY REVIEWS 74 Opus 10a C^us 87 BIBLIOGRAPHY 77 iv CHAPTER I BIOGRAPHY Born on September 11, 1786 in Velzen, Germany, F ried rich Daniel Rudolph Kuhlau was the ninth of eleven children, the youngest son of a military musician, Johann Kuhlau; Friedrich’s grandfather had been an oboist,^ When he was approximately seven years old, his family moved to Lüneburg, It was about this time that Kuhlau was sent by his mother at night to fetch some water at a fountain. He tripped, and as a result of his 'fall lost the sight in his right eye,^ All attempts were made to save the other eye; thus, Kuhlau had a very long convalescence in bed. In order to amuse him, his parwts had an old clavichord placed across his bed for him to play. He learned so quickly that his parents, though very poor, decided to help him pursue the study of music,^ After Kuhlau's recuperation, he took piano lessons with the organist at the Heilige-Geist Kirche in lilneburg, Hartwig Ahrenbostel, and flute lessons with his father. In 1802, Kuhlau was in Braunschweig, iKarl Graupner, "Friedrich Kuhlau" (unpublished Ph,D, disser­ tation, Ludwig-î'Iaximilian University, Munich, 1930), p, 13, 2"Kuhlau (Frederic)," Bio/?ranhie universelle des musiciens et biblioptranhie p.ênèrale de la musique. 2nd ed,, 8 vols, ed, F.J, Fëtis (Paris: Didot & Go, 188A), V, 128, ^Graupner, "Friedrich Kuhlau," p, 14, 2 where, spurred on ty his friends, he wrote to Breitkopf und Hflrtel ;d.th the hopes of having a few arias published. Although they were not accepted, Kuhlau's letter to the firm is one of the first authen­ tic proofs of his compositional activities.4 According to Graupner, Kuhlau was probably greatly influenced by the repertoire being presented on stage while he was in Braun­ schweig. The programs were in the hands of the French and they con­ sisted for the most part of French and Italian works by Cherubini, Boieldieu, PaÔr, and sometimes Mozart and Gluck.5 Sometime between 1802 and 1804-, Kuhlau moved to Hamburg. Here his composition teacher was Christian Friedrich Gottlieb Schwencke (1767-1822), who was himself a composer, harpsichordist, music editor, mathematician, theorist, and critic. Schwencke had been a pupil of Carl Philip Bnanuel Bach and Johann Philipp Kimberger, and he suc­ ceeded the former as cantor and music director of St. Catherine's in Hamburg in 1789.^ Perhaps it was because Kuhlau was a direct pedar- gogical descendent through Schwencke of one of the foremost ^Ibid.. p. l6. There are thirty-two letters which Kuhlau vjrote to Breitkopf und HSrtel during the time of his business trans­ actions with the firm from 1802 to 1822. They are kept in the ar­ chives of the publishing company in Leipzig and are discussed in part by Wolfgang Schmieder in "Briefe eines Autors an einen Verleger; zur Erinnerung an Friedrich Kuhlau, " Allrremeine I'fuslkzeitung^ Vol. LKIII (1936), pp. 801-804. ^Graupner, "Friedrich Kuhlau," p. 17. &J.A. Fuller-I>&itland, "Schwencke, Christian Friedrich Gott­ lie b ," G rove's D ictionary o f I-ktsic and M usicians. 5th e d ., 10 v o ls, ed. Eric Blom (New York: St. Martin's Press, 1954-61), VIII, 656 . 3 contrapuntalists, Johann Sebastian Bach, that he developed a talent and reputation for writing canons, I4any of them appeared, often as puzzles, in various issues of the Allf>etneine musikalische Zeitung throughout the early years of the nineteenth century.’^ Between the years 180/. and 1810, Kuhlau’s music was performed and he himself played often in Hamburg. Among those performances listed by the Hamburg Komfldienzettel 1800/lC are;^ 3 March 180/. - Overture from the new opera, "Amors Triungjh, " composed by Mr, Kidilau, Grosses Sextett for Fortepiano, by Himmel, played by Mr. Kuhlau. 17 I'larch 180/. - C lavier V ariatio n s, composed and played by Mr*, Kuhlau. 15 December 180/. - Simphonie by Mr. Kuhlau. Clavier Concerto ty Dussek, played by 1-Ir. Kuhlau. 15 March 1806 - Concerto fo r Fortepiano. composed and played by Mr.
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