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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. Kuhlau.

2 January 1808 - Siiaphonie by Kuhlau. Variations for the Pianoforte and Flute, composed by Mr. Kuhlau, executed by Mr. Kuhlau and Mr, Cestenoble,

17 March 1810 - V ariations fo r P ianoforte; Auf Hamburgs Wohlergehen. composed and played by 14r. Kuhlau.

In 1810, th ree Rondos by Kuhlau appeared as h is Opus 1-3,

published by Hofraeister in Leipzig.^ After refusing at first to

^Allgemeine musikalische Zeitung. XIII (1811), 679 and 763; XV (1813), 40; XXI (1819), 832; XXIII (1821), /60, 591, 847, and 867.

%raupner, "Friedrich Kuhlau," pp. 18-19 and 6o-62.

9lbid.. p. 20. u

publish his Op, U Pianoforte Sonata on the grounds that Kuhlau wasn't

known, Breitkopf und HSrtel finally did publish it in 1810 vAien

Schwencke sent along his recommendation. From then on, Breitkopf und

Hërtel published Kuhlau*s compositions regularly until 1822.^^

Also in 1810, Napoleon and his influence threatened to turn

Hamburg into a French city, Kuhlau feared that he would be drafted .

into militaiy service even though he had only one eye, and that this

would interrupt his musical career. Therefore, he fled at the end of

1810 to Denmark, living under the assumed name of "Kaspar Meier."

He felt it safe to resume his real identity shortly thereafter, but

he remained in Denmark for the rest of his life, with the exception

of several trip s to S'treden, Norv;ay, Germany, A ustria, and Sw itzer­

land, On March 3, 1813 he became a n atu ralized c itiz e n of Denmark,

On January 23, 1811 Kuhlau was presented as a composer-per-

fonaer in his first concert in Copenhagen, Included on the program

were the Piano Concerto in Ç Major. Op, 7, and Ungeidtter auf dera

Meere. a musical to ne-painting, both composed and played fcy Kuhlau,

Due to the success of this concert, Kuhlau became the piano instruc­

tor at the King's Theater for the salary of 300 lligsbankdaler per

y ear. On February 20, 1813, he was given th e p o sitio n of Kammeimusi-

kus to the king, without pay, until a position with pay should be

lOschraieder, "Briefe eines Autors an einen Verleger," n. 801,

^^Reinhold Seitz, "Kuhlau, Friedrich Daniel Rudolph," Die Musik in Geschlchte und Gegenwart. 15 vols, ed. Friedrich Blume (Kassel: Eflronreiter, 1949-73), VII, 1874. 5 made available by someone's retirement or death.

Kuhlau's success during his lifetim e as a composer came about

chiefly because of his dramatic vorks. The opera R&uberburs (without

opus number) was vjritten on a text by Adam Oehlensohlttger^^ and per­ formed first on 1-iay 26, 181A in the King's Theater. It is considered to be in the newer Romantic chromatic style, patterned after Cheru­ bini, and, according to Graupner, Rfluberburg anticipates Per Frei-

schütz by ten years.^ The opera met with great success, its popu­ larity shown ly the fact that from 1814 to 1879 it was presented ninety-one times in Copenhagen and many times in Hamburg, K assel, Riga, and Leipzig as w ell.

In 1815 and I8 l6 , Kuhlau made separate tr ip s to Stockholm and to Hamburg. He played several concerts in those cities and received favorable reviews. On June 1, 1816, Kuhlau was hired as the voice instructor at the Copenhagen Theater, In 1817, however, he asked to be released from his position so that he might have more time to com­ pose and because his health had been suffering. On April 25, 1818,

l^Graupner, "Friedrich Kuhlau," pp. 25-27,

^^OehlenschlMger was a leading Danish romantic poet. See John Horton, Scandinavian Music; A Short History (London: Faber and Faber, 1963), pp. 87-88.

^Graupner, "Friedrich Kuhlau," p. 27. Actually only seven years elapsed between the first performance of RMuberbure and that of Weber's opera which took place on June 14, 1821 in Berlin, See August Reissraann, C arl Maria von Weber, sein Leben und seine Werke (Berlin; Robert Oppenheim, 1886), p. 98.

^^Graupner, "Friedrich Kuhlau," pp. 27-28. 6

Kuhlau finally received the position of Kammernmsikus with a salary

of 300 Rigsbankdaler per year. His duties were to play the piano at

the court and compose religious or other music for the court lAen

demanded. Also, if it were required of him, Kuhlau was to write an

opera for the Theater.

In March of 1821, Kuhlau was allowed to make a joumqy to

Leipzig, parts of Switzerland, and Vienna. According to a letter

sent to a friend in Copenhagen, Kuhlau seemed to enjoy the plays in

Vienna much more than the operas, which were mostly by Rossini,

Kuhlau appeared to dislike Rossini’s use of trumpets and percussion

instruments, finding them much too loud for his taste. It is possible

that Kuhlau heard the first performance of Per Freischtltz. as he could

have been in Berlin at that time. Already in 1820, Weber had been in

Copenhagen, and on October 8th of that year he presented the overture

to that opera in a concert.

In 1825, Kuhlau travelled again to Germany and Austria. Proba­

bly the most important event for him at this time was the meeting with

Beethoven in September of that year. Kuhlau had often come to the de­ fense o f Beethoven, whose music had been maligned by the more conser­ vative composers of Copenhagen,Kuhlau*s contact with the great

l6lbid.. pp. 29-32.

l ^ Ib id .. pp. 38-40.

"Kuhlau, Friedrich," aicyclopedie de la musique, 3 vols., ed. François Michel (Paris: Fasquelle, 1958-61), II, 714. 7

composer took place on an outing in Baden near Vienna arranged by

H aslinger, which was attended by Joseph Sellner, an oboist, Karl Holz,

a violinist and friend of Beethoven, Conrad Graf, a piano maker,

Kuhlau, and Beethoven himself, Beethoven supposedly called Kuhlau

the "great canonier," perhaps having seen Kuhlau's examples in the

All^emeine musikalische Zeitung. 19 After a lunch at Helenenthal and

more hiking, the evening was spent in Beethoven's apartment. Along

with much joking jmd drinking, Kuhlau improvised a canon on the name

BACH.^® Beethoven must have been disappointed in his own efforts at

improvisation, for the next day, Ifuhlau received the following mes­

sage from him:

"Baden, September 3» 1825

" I must confess th a t in ny case also th e chanç)agne went too much to ny head and that again I had to exper­ ience the fact that such indulgence hampers rather than promotes ny ability to work. For though I am usually well able to reply on the spot, yet I haven't the faint­ est recollection of vdiat I wrote yesterday ---- " Remember now and then your most devoted Beethoven,

Included was the following musical pun, also based on the BACH motive:^

19william Bebrend, "W^se und Kuhlau; Studie zur Geschichte der DMnischen I-iusik," Die Musik. Vol. IV, Ho. A (1903/0A)> p. 283.

20paul N ettl, Beethoven Handbook (New York; Frederick Ungar Publishing Co., 1956), p. 120, ^^Eknily Anderson, The L e tte rs o f Beethoven; C ollected. Trans­ lated. and-Edited with an Introduction. Appendixes. Notes and Indexes (London; Macmillan & Co., Ltd., 1961), Vol. Ill, p. 12A5»

22Herbert Kfllbel, Von ^ Flflte (K assel: Bârenrelter, 1966), p. 169 , 3

t e Ai f KuVi\ mitkt" lo u n itW ' (Au. Kh WI h ic l^ la**** M y - ll'^T*— ( T 1 i ; j tii I i t ~ K I r i

In 1828, Kuhlau achieved his fame as.a Danish national com­ poser with his opera, Elfenhügel» on a text by Johannes Ludwig Heiberg, the leading exponent of national romanticism. In this stage work,

Kuhlc used many Danish folk melodies and, in fact, at the end of the overture, included the national anthem. On the 6th of November, 1328,

ELfenhügel was presented for the first time for the marriage of Prince

Friedrich and Princess Wilhelmine. Its popularity with the Danish ia shown by the fact that it was performed 600 times in the Copenhagen

Theater alone between 1828 and 1829. Probably the great success of this opera is what secured for Kuhlau the position of Professor.^3

Throughout his career in Copenhagen, Kuhlau struggled con­ stantly to keep his head above water financilly. Time and time again he asked the king for a raise in salary, or his publishers for more money for his efforts, only to be refused. Since 1813, when his parents

23Graupner, "Friedrich Kuhlau," pp. 49-51. 9

and younger sister had come to live with him in Copenhagen, Kuhlau had

been responsible for their welfare also. He often had cause to complain

to Breitkopf und HSrtel concerning their small payments and the print­

ing errors in his publications.^ After 1822, having published his

works for twelve years, Breitkopf und Hërtel refused to publish any

more compositions by Kuhlau, for reasons which are s till unclear.

3h 1826, Kuhlau and his family moved to a house in lyngbye, near Copenhagen. In 1830, both his mother and father died. Kuhlau had never married, and this double tragedy affected him deeply.

Another misfortune befell Kuhlau and his widowed sister, Amalie, vdio had been living with him. On February 5» 1831, his house burned to the ground, destroying many manuscripts, including a treatise on the

Bach tradition of thoroughbass, a work which had occupied his efforts for several years.

A fter these events, Kuhlau became extremely i l l , su fferin g from weak lungs and the gout. He had to enter a hospital in Copenhagen, remaining for several months. Af^er a slight recuperation during the summer o f 1831, Kuhlau died on March 12, I 832. The burial ceremony took place in S t. P e te r’s Church in Copenhagen on March 18. I t was attended by Christian Winther* a poet and close friend, who read his own poetiy, and by composers, such as Christoph Ernst Friedrich

Z^Ibid.. pp. 28-29, 31, 33-35, 39 and 41.

25schmieder, "Briefe eines Autors an einen Verleger," pp. 803—804.

Z^Graupner, "Friedrich Kuhlau," pp. 47 and 54-55» 10

Weyse, who were important in Copenhagen at that time. Kuhlau‘a own

Trauermarsch. which he had written for Christian VII'a funeral, was: played. A performance in hia memoiy was also given in the King's-

Theater, and ceremonies were presented in various musical societies.2?

27 ib id .. pp. 55 - 56 . CHAPTER I I

GENERAL BACKGROUND

Kuhlau's Relationship to the Flute

Several sources of information about Kuhlau refer to the

fa c t th a t when he fle d to Denmark and was appointed Kammermusilais

to the king, he was given the position as first flutist in the Royal

Chapel and the Opera.^ It is true that Kuhlau in his childhood had

studied the flute, along with the piano, voice, and violin, but his

talent as a flutist was modest, according to his letters. In a letter

to Breitkopf und Hërtel of March A» 181A» he wrote, " ...I play this

instrument (flute) only a little, but I know it exactly; " later, in

a letter of 1829, he said that he did not yet have the slightest

grasp of the flute. ^

^Adrian Girard, Histoire et richesses de la flûte (Paris: Librairie Garilnd, 1953)» pp. 56-57; John Hull ah, "Kuhlau, Daniel Frederik (Friedrich) Rudolph," Grove's Dictionary of Music and Musi­ cians. 5th ed., 10 vols., ed. Eric Blom (New York: St. Martin's Press, 195A-61), IV, 866; "Kuhlau (^édâric)," Biographie universelle des musiciens et bibliographie générale de la musique. 2nd ed., 8 vols., ed. F.J. Fétis (Paris: Didot & Co., 188A), V, 128; Leonardo de Lorenzo, Mv Complete Story of the Flute (New York: The Citadel Press, Inc., 1951), p. 108; and Richard S. Rockstro, A Treatise on the Flute (2nd e d .; London: Jâisica Rara, 1928), pp. 581-82.

^Karl Graupner, "Friedrich Kuhlau," (unpublished Ph.D. disser­ tation, Ludwig-Maxirailian University, Munich, 1930), p. 52.

11 12

Thrane, however, thinks that Kuhlau*s flute compositions prove that he had a knowledge of the instrument that only a skilled player could possess.^ Even if Kuhlau was being overly humble concern­ ing h ia a b i l i t i e s , one would in fe r from h is comments th a t he could not have been the court flu tist in Copenhagen. Also, had Kuhlau been gifted enough as a flute player to hold that position, surely he would have given concert performances on that instrument. However, any com­ ments about his playing or records of concerts refer to him as a pianist only.

According to Fitzgibbon, Kuhlau used to play his music with his friend and well-known flu tist Anton Bernhard Filrstenau (1792-

1852) A The author does not indicate vhether both men played flute or whether Fürstenau played flute while Kuhlau accompanied him on the piano. Kuhlau was also know.i to have asked the chapel flu tist in

Copenhagen, Bruun, to play through his pieces before sending them to publishers.5

Kuhlau wrote well over 300 compositions, and his works for flute comprise about one-fourth of that total output. Aside from compositions for the piano, violin, and one concerto for two Wald- homs, the flute is the only other solo instrument represented in

Kuhlau *5 literature. He wrote twenty-nine works for flute and piano.

^Carl Thrane, Friedrich Kuhlau (Leipzig: Breitkopf und Hflrtel, 1886), p. 50 .

^H. Macaulay Fitzgibbon, The Story of the Flute (2nd ed.; New York: Charles Scribner*s Sons, 1928), pp. 200-201.

SThrane, Friedrich Kuhlau. p. A9* 13 fifteen for flute alone, three for flute and string quartet (violin, two violas, and cello), sevan for flute trio, eighteen for two flutes, one for flute quartet, and one for two flutes and piano.^

* As much as a f l u t i s t would lik e to think otherw ise, i t ap­ pears that Kuhlau’s music for the flute was composed mainly for finan­ cial reasons.*^ Graupner states that the flute was a fashionable in­ strument to play in the early part of the nineteenth century, and

Kuhlau therefore had no trouble publishing music for it. In circles of music lovers, flute music was played by many dilettantes, whereas string quartets could hardly be published. Kuhlau’s flute composi­ tions were probably the quickest and best source of income. Since he had a reputation as a flute composer, publishers often ordered new works from him.

In a l e t t e r of May 5, 1829 Kuhlau wrote;

"... because I cannot live with ray family on ny small salary, I have to write for ray publisher instrumental works and such things, for which I am well paid; but these are presently almost all compositions for flute; for example, a piece for the flute of the same size as my A Major Quartet [Op. 50, for piano, violin, viola, and cello] would bring me exactly sixty-eight ducats.

^See Appendix A for a conçilete listing of the flute composi- tio n s.

^It is interesting to note that the majority of Kuhlau’s works for flute were published later in his life, in the middle to late 1820’s.

. . woil ich mit meiner Familie von def kleinen Gage nicht leben kann, so muss ich filr meine Verleger viel Instiuraentalmusik und solche Sachen schreiben, welche mir gut bezahlt werden; diese sind aber gegenwfirtig fast nur Compositionen für die Fidte; z.B. ein Merk ftlr die Fid te, von gleicher Grdsse, wie mein A-dur-Quartett, würde mir genau 68 DuJcaten eintragen. " Throne, Friedrich Kuhlau. p. 50. lA

It is evident that if Kuhlau had had a regular yearly income, a con­

siderable amount of his music probably would never have come into

existence.9 Several of the works for flute which are sometimes not

very meaningful or interesting could be accounted for by the circum­

stances of corq^osition.^® On the other hand, Kuhlau's situation has

also enabled flute players for over a century and a half to have

quite a substantial body of excellent music to plaj'.

The Pre-Boehm F lu te

The flute lAich was played during Kuhlau's lifetime probably

predated the Boehm flute. To Theobald Boehm (1794-1881) must be

attributed the credit for some of the most important innovations in

the acoustical design of the flute (and other woodwind instruments).

He worked with the principle that the tone-holes should be placed in proper acoustical position, rather than according to the comfort of

the hand position. Open-standing keys would then cover the inaccessi­ ble holes by a system of ring-key s. Not only vras there an improve­ ment in intonation, but also a corresponding consistency of tone quality. But since Boehm's new flute did not appear until 1332, it

9Thrane, Friedrich Kuhlau. p. $0.

^^Graupner, "F riedrich Kuhlau," pp. 33 and 52-53»

^^Ilerbert Kdlbel, Von der Fldte (Kassel; Bdrcnreiter, 1966), pp. 51-52. 15

is unlikely that its influence could have affected Kuhlau's composi- ] p tions for the flute, as the conç)oser died in that year.

Throughout the early part of the eighteenth century, flutists played,the one-keyed conical bore flute. This key covered the hole for eb,^3 and in 1752, Johann Joachim Quantz is known to have added a second key for the enharmonic d#. The range of this flute was d to a2.^ Since the natural scalp of this instrument was that of D Major, it produced fairly good intonation and tone quality if one remained within that diatonic scale or in a closely related key. "Flat" keys like F and required the use of some forked fingerings, vAiich re­ sulted in certain notes being considerably wealcer and/or out of tune.

(Keys with flats were better executed by the treble recorders.) The one-keyed flute often consisted of four sections, the one next to the head joint available in various sizes so that tuning with other in­ strum ents could be adjusted. For instance, an adagio movement would probably be played softly, and a soft pitch on the flute tends to bo flat. Therefore, one would use a shorter (sharper) mid-section for that movement. Conversely, one would switch to a longer joint for

^^Theobald Boehm, The Flute and Flute-Plavin.q. trans. by Dayton C. M iller (New Yorks Dover P u b licatio n s, In c ., 196A), p. 9.

-^^The system of pitch designation used in this document is that ^diere middle C = c; the octave higher = c^.

^Kdlbel, Von der Fid te , p. 4.6, 16 15 an allegro.

Research has shown that the four-keyed flute was in use before

1760 . Having only one key for the e^-d#, it also had holes and keys for f#y gjÿ, and Between 1770 and 1780, the range of the flute was extended downward to include c# and c, thus resulting in the six- keyed flute. Although it is not possible to attribute the appearance of these chromatic holes to any one inventor, the letter type of flute is known to have been manufactured in London by Pietro Grassi Florio,

Richard Potter, and Caleb Gedney.^*^ In fact, it is known that the famous Ehglish flu tist Andrew Ashe, owned one of Potters’s six-keyed flutes in 1774.^^

In 1782, Ribock supposedly added the c^ key, and in 1786,

Tromlitz added, the duplicate long f key to ease fingering difficul­ ties.^^ The result was that toward the end of the eighteenth century, the eight-keyed flute prevailed. It provided a full chromatic scale

(ifithout forked fingerings) with a range extending from c to

The most renowned flutists of the early nineteenth century, such as Louis Drouet, Charles Nicholson, and Anton Bernhard Fürstenau,

^^Anthony Baines, Woodwind Instrum ents and th e ir H istory (rev. ed.; New York: W.W. Norton & Company, Inc., 1957), pp. 291-92.

l&Ibid.. p. 293.

l?Philip Bate, The Flute (New York: W.W. Norton & Company, In c ., 1969), pp. 96- 97.

l^Girard, Histoire, p. 12.

^^Bate, T^ Flute, p. 98.

^^Rockstro, TM Flute, p. 301. 17

to whom Kuhlau's Op. 39 duets are dedicated, all played the eight- keyed flute.Jean Louis Tulou, to whom Kuhlau dedicated the Op. Si duets, used the four-k^ed flute and refused to learn the Boehm system, although he lived well into the nineteenth century and died in 1865 .^ ^

It is known that in Copenhagen there was a flutist, Neils ïhorsen, who had become partially deaf because of an illness and turned there­ fore to instrument manufacturing. His flutes, constructed about 1820, had as many as fourteen k e y s . 2 3

We have no direct knowledge concerning the type of flute for which Kuhlau wrote, but since the eight-keyed instrument was favored at that time, this is probably the flute on which most of his music was first performed. One can assume that this pre-Boelm flute was still conical in shape, weak in tone quality, and inconsistent in intonation. The best players surely knew how to surmount its diffi­ culties, and yet the easiest keys for displays of technique were still G and D .^ These limitations are reflected in Kuhlau's over­ whelming choice of "sharp" keys in his flute compositions.

2^Baines, Woodwind Instruments, p. 317.

22pitzgibbon, Story of the Flute, pp. 196-97.

23iyndesay G. Langwill, M Index of Musical Wind-Instrument Makers (2nd ed.; Edinburgh: Lorimer & Chalmers, Ltd., 1962), p. 213.

ZAsaines, Woodwind Instruments, p. 317. CHAPTER I I I

MUSIC FOR TWO FLUTES

The Flute Duets

The duets for two flutes ty Kuhlau are Op. 10a, 39, 80, 81,

87, and 102, spanning the years from 1813 to 1829. A point in ques­ tion is the dedication of several of these duets. The consensus of those sources which mention dedications reveals that Op. lOa^ was dedicated to G.D. de Lorichs, and Op. 39 to Anton Bernhard. Fürstenau. ^

According to Lorenzo, "the title s of Mbns., Captain, Madame, Baronne, etc., are used KuhlauJ only for dilettanti but are omitted for illustrious composers like Spohr, Schubert, and others."3 Perhaps this is an indication of the status of a certain "Counsellor P.F.

Thomam, " to idiom Kuhlau dedicated his Op. 87.^ Conceming Op. 80 and

81, Rockstro and Lorenzo lis t dedications to Tulou and Gabrielski,

%ee Appendix C for a contemporary review of this opus,

^Karl Graupner, "Friedrich Kuhlau" (unpublished Ph.D. disser­ tation, Ludwig-Maximilian University, I-tinich, 1930), pp. 69-70 and 72; Carl Thrane, Friedrich Kuhlau (Leipzig: Breitkopf und Hflrtel, 1886), p. 102; Richard S. Rockstro, A Treatise on the Flute (2nd ed.; London: Musica Rara, 1928), p. $84; and Leonardo de Lorenzo, ^ Complete Story of the Flute (New York: The Citadel Press, Inc., 1951), p. 110.

^Lorenzo, Story of the Flute, p. 354.

^See Appendix C for a contemporary review of Op. 87.

18 19

respectively.^ Jean Louis Tulou was a well-known flu tist and composer

during Kuhlau*8 day. At that time, there were two brothers named

G abrielski. Both Jan Wilhelm (1791-184-6) and J u liu s (1806-1878) were flutists, but neither Rockstro nor Lorenzo indicate specifically to whom Op. 81 is dedicated. Neither do th ^ state the source of their information. Since Kuhlau dedicated his Op. 103 Flute Quartet to Jan

Wilhelm Gabrielski,& it is highly likely that this was the person for whom he wrote the Op. 81 Duets. Thrane and Graupner give no dedication information for Op. 80 or 81, yet Graupner had access to both wrks in the Royal Library in Copenhagen and the State Library in Berlin. ?

Rockstro and Lorenzo give C. Scholl as the person to whom the

Op. 102 duets are dedicated, but Graupner and Thrane contradict this, claiming that Moritz I^bel was the object of Kuhlau's dedication.^

Perhaps these discrepancies in dedication information can be attributed to the fact that there was more than one publication of each set of duets.

A closer look at several examples of Kuhlau*s duets reveals typical compositional characteristics of this composer. (See Tedde 1 below for the formal structure of these pieces.) The opuses vary in t i t l e from Duos fo r Two F lutes (Op. 80 and 8 l) , Duos Concertantes fo r

5Rockstro, Flute, p. $84. and Lorenzo, Story of the Flute. p. 110.

^Rockstro, T ^ Flute, p. 584

^Graupner, "Friedrich Kuhlau," pp. 68 and 71.

^Ibid.. pp. 69-70 and 72; Rockstro, The Flute, p. 584; Lorenzo, Story of the Flute, p. Ho; and Thrane, Friedrich Kuhlau. p. 102. TABLE 1

FORMAL STRUCTURE OF THE DUETS

Work ' Movement T itle Key Meter Form

Op. 10a; Duos concertants, Allegro con e 3/4 Sonata-allegro espressione Larghetto C 6/8 Ternary Allegro assai e C Rondo

#2 Allegrissirao D Sonata-allegro Larghetto con b 3/8 Theme & 4 Var. espressione m aliconica A llegretto D 2/4 Rondo

#3 Allegro assai G 6/8 Sonata-allegro Allegro G C Rondo

Op. 39; Grosse Duos. #1 Allegro assai e C Sonata-allegro con molto fuoco Adagio ma non C 3/4 Tem ary troppo Allegro e 2/4 Rondo

#2 Allegro Bb C Sonata-allegro Adagio lagrimoso 6/8 Ternary Allegretto Bb 2/4 Rondo

#3 Allegro scherz- D 6/8 Sonata-allegro ando Adagio con anima G 2/4 Temary Allegro assai g 3/4 Scherzo & Trio Allegro D 3/4 Rondo

20 21

TABLE 1 (continued)

Work Movement T itle Key Meter Form

Op. 80;, £005, Allegro con G C Sonata-allegro gusto Andante con mote C 3 A Temary Allegro moderato G 2/4 Rondo

#2 Adagio-Allegro a-C 0 Sonata-allegro con brio Larghetto e 6/8 Ternary Allegro vivace C 2/4 Rondo

B Moderato assai e 6/8 Sonata-allegro Andante G 2/4 Ternary Rondo a lia e 3/4 Rondo Polacca

Op. 81: Duos. a Allegro vivace D 6/8 Sonata-allegro Adagio b 2/4 Ternary A llegro non D 3/4 Rondo tanto

B Allegro F 0 Sonata-allegro Andante 3/4 Ternary Allegro F 6/8 Rondo

B Allegro 0 Sonata-allegro Andante con moto 3/4 Ternary Allegro g 0 Rondo Op. 87: Grosse Duos. #1 Allegro A 0 Sonata-allegro Andante F 6/8 Ternary Allegro A 3/4 Rondo

B Moderato assai g 6/8 Sonata-allegro Presto agitato g 2/4 Rondo

B Allegro assai DC Sonata-allegro Larghetto mel- d-D 3/4-G/6 Sonata-allegro ancolico- Presto assai 22

TABLE 1 (continued)

Work Movement T itle Key Meter Form

Op. 102; Duos b r illa n ts . #1 Allegro assai D C Sonata-allegro Andante cant Extended ternary

■ A lleg retto P 2/U Hondo grazioso

#2 Adagio-Allegro E-e C Sonata-allegro a ss a i con molto fuoco Tempo d i polacca e 3/A Theme & 5 Var.

#3 Allegro vivace A 6/8 Sonata-allegro Adagio c# Extended ternary Allegretto A Rondo vivace 23

Two F lutes (Op. 10a), Duos B rilla n ts fo r Two F lutes (Op. 102), to

Grand Duos fo r Two F lutes (Op. 39 and 87). Most duets appear to be of equal difficulty, except those entitled Grand Duos, which are techni­ cally much more difficult and quite extensive. For instance, the first movement o f Op. 10a, #1 i s 192 measures long, viiereas the f i r s t move­ ment of Op. 87, #1 i s 335 measures long.

Every first movement is in sonata-allegro form, and only that of Op. 80, #3 does not repeat the exposition. For the most part, sec­ tional proportions and key relationships are standard, yet Kuhlau sometimes breaks the expected pattern. In Op. 10a, #3 there is a two- measure introduction which consists of a dominant seventh arpeggio figure derived from the first theme,9 Later, the second theme is given in G minor, but only after it is presented in Major. In the recapitulation, the second theme appears in G Major, as expected, but after its presentation in E^ Major. In the recapitulation sections o f the f i r s t movements of Op. 102, #2 and Op. 87, #2, Kuhlau gives the second themes before the first themes return. In all three first movements o f Op. 81, the recap itu latio n s, omit the f i r s t themes e n tire ly and move from the development directly to the bridge passages preceding the second themes (#1 and #2) or to the second theme itself (#3)«

Often, Kuhlau changes the key signatures within movements, and in the sonata-allegro foims a typical place for such a change is

9ln the works under discussion, Kuhlau provides only one theme in the tonic key area, whereas the related key area occasionally con­ sists of two. In the latter case, these are referred to as second and closing themes. 24

the development section* In Op. 39» #3» the first movement is in D

Major. Yet, most of the development appears with a signature of two

flats, modulating through the keys of g, and d. pp. 87, #1 begins

in A Major (th ree sh arp s), but th e development o f th e f i r s t movement

is presented without a key signature in the keys of a, F, C, and a.

In th e f i r s t movement o f Op, 39, #2, key signatures include changes from two flats (B^ Major and D minor) to two sharps (second theme in

D Major) to two flats (development and first theme of recapitulation) to one sharp (bridge in E minor), and finally to two flats (second theme and coda in Major).

A device used by Kuhlau in some development sections is imita­ tion. This can be seen in Op. 39, #1» idiere the entire development of th e f i r s t movement i s based on th e second theme tre a te d in a quasi- fugal mannerj the second flute states the subject and is followed four bars later by the tonal answer of the first flute part. Similar imi- tative treatment is given to the first theme of the pp. 8 1, #3 f i r s t movement during the development.

One of the more harmonically unusual of Kuhlau* s compositions is the first movement of pp. 80, #2. It begins with a slow introduc­ tion without an established key center. The main motive consists of four half notes outlining the intervals of an ascending diminished seventh, a descending minor second, and a descending perfect fifth

(fj? - e^^ - - g). This motive appears in G, D, A, and E minor before the tonality is finally established as A minor in the eighth and ninth measures. A half cadence at the end of the glow introduction 25

re tu rn s several times in modulating sectio n s o f the th ird movement

(Rondo) of this duet, not only in its original form, but also inverted,

with a descending diminished seventh, an ascending minor second, and

an ascending perfect fifth. This is the only suggestion of az^ thema­

tic relationship between movements in the Kuhlau duets.

For the most part, the slow movements of the three- and four- movement duets follow an ABA stru c tu re (Op. 102, jjD.; Op. 39, #1-3;

Op. 80, #1-3; Op. 81, #1-3; Op. 87, #1) or an ABABA design (Op. 102,

#1 and #3). The "B" sections are characterized ly key changes and/or different motivic material. More than once Kuhlau tends to imitate himself in his duets—an example of this can be seen in the sim ilarity between the expressive themes of the "B" sections of the Op. 10a, #l

(Ex. 1) and Op. 87, #1 (Ex. 2) slow movements;

Example 1. Duo, pp. 10a, #1, Larghetto, m. 23-24.

1ST FLUTE I

Example 2. Duo, Op. 87, #1, Andante, ra. 28-29.

UN» FLUTE A" 26

Of a l l the types o f movements vAiich Kuhlau wrote fo r th e two f lu te s , the slow movements seem to vary most in scope and tech n ical difficulty. They can be as simple in periodic structure and note values .as the p la in tiv e movement from Op. 81, jfl (twenty-one measures long), or they be extremely serious, cadenza-like, and difficult, as the Op, 39, #3 (forty-two measures long), or the Op. 87, #1 (eighty measures long).

The slow movement of Op. 10a, #2 consists of a theme with four v a ria tio n s. I t is somevriiat su ip risin g th a t o f the fifty -o n e movements comprising Kuhlau's six duet opuses, only two are cast in variation form. Kuhlau was noted by his contençioraries for his many variations based on opera themes and national folk songs. Of his 178 compositions for piano (two- and four-hand), twenty-nine are listed as variations.

Seven of his twenty-nine works for flute and piano are also in this category. One would expect that the duets, being a type of Hausmusik. would lend themselves readily to the variation form and be all the more popular according to the tastes of the early nineteenth century.

Perhaps the reason Kuhlau generally avoided this form in the duets was that he felt that the two melodic instruments were too limited to a.chieve the variety one would want in a set of variations.

Aside from the Op. 10a, #2 slow movement, the o th er v a ria tio n movement i s the second and l a s t one o f Op, 102, #2, "V ariations on an ancient Swedish Air." Kuhlau sets his five variations to the theme of "Nëckens Polska," or "Neptune's Polka," a dance of the Swedish 27

province of Dalecarlia.^® Kuhlau*s version (Ex. 3) differs slightly

in the first phrase (and corresponding phrases) from the standard

rendition of this folk tune (Ex, 4).^^

Example 3» Duo. Op. 102, #2, Variations on an ancient Swedish Air, III#

1ST FLUTE,

Example 4. NSckens Polska, m. 1-^. (transposed from D minor)

With the exception of the aforementioned variations and those ‘

of Op. 87, #3, all last movements of the duets are cast in rondo form.

An especially charming one comes from the Op. 10a, #2, which follows

the pattern; ABACBAC'A in the following keys: D, A, C, a. A, D, g, and

D. The "C" theme (Ex. 5) is treated slightly differently in its two statements:

^% u staf HSgg, e d ., Songs o f Sweden (Mew York: Schirm er, 1909), pp. iv and 6-7.

^K ath leen Dale, "Polska," G rove's D ictionary o f I-hisic and Musicians. 5th ed., 10 vols., ed. Eric Blom (New York: St. Martin's Press, 195A-61), VI, 84.8. Example A is drawn from this source. 28

Example 5» Duo. Pp. 10a, #2, Rondo, m. 5^-59 and m. 119-20.

1ST fL Ü T E r«

7 v r f -----4 -^ttüh r _ ^ L 6 _ --- - —L j —1

The first presentation is acconçanied ty an Alberti bass, a favorite

Kuhlau device, and the second is presented in a contrapuntal imitative manner. Another Kuhlau mannerism is the repetition of eight- and six­ teen-bar phrases with the two parts reversed (Stimmtausch). as found, for example, in the Rondo of Op, 87, #3 between m. 135-50 and m. 151-

72. Sometimes this repetition becomes quite tedious.

In the l a s t movement o f Op, 87, #2, most o f th e themes appear in a 2/A Presto agitato tempo, which is interrupted twice, however, by a further theme in a 6 /8 Adagio tempo. In Op, 10a, #3 and Op, 39,

#1, Kuhlau seems to imitate himself again in the similarity between the Rondo themes: (Ex, 6 and 7)

Example 6 , Duo. Op. lOa, #3, Rondo, m. 1-2,

(ST fLvre & 29

Example 7. Duo. Op. 39» #1» Rondo, m. 1-4..

1ST fivTB ^

The last movements of Op. 39, #3, Pp» 80, #3» and Op. 87, #2

axe entitled "Rondo alia Polacca," The polacca in each case is char­

acterized by syncopation and a feminine cadence in triple meter. In

Op. 39, #3 Kuhlau presents the rondo theme only after a ten-measure

introduction by the first flute, consisting of scales and arpeggios

based essentially on the dominant seventh chord of the tonic key, D

Major.

The one duet which has fo u r movements is Op. 39» #3» I t con­

ta in s as i t s e x tra movement a s t r i c t canon in a scherzo-trio form.

The second flute follows the first an octave lower and two measures later throughout the scherzo, which is in G minor. The trio, in G

Major, is led by the second flute by two measures (the second flute still being an octave lower than the first) until the return of the scherzo.

The structure of a Kuhlau duet, then, is usually that of three movements, in sonata-allegro form, temary form, and rondo form. The two-movement works omit the slow movement. Each f lu te has an equally difficult part—these are not examples of pedagogical duets, where the teacher -vrould play a more difficult part than the student. For both flutes, the ranges are full, from c to b^^. Through variations 30 of stnictural patterns and often surprising harmonic changes, Kuhlau provides quite a variety of music within the limitations imposed ty the instruments.

. Compared to the duets of Kuhlau's early nineteenth century contemporaries, Louis Drouet, Gaspard Kuramer, Anton Bernhard Filrstenau, and Anton Reicha, Kuhlau's duets provide a great deal more interest, with the possible exception of those by Fttrstenau. The other composers wrote for the most part much shorter (usually one movement), pedago- gically oriented duets with hardly the variety of harmony or thematic interest that Kuhlau created.

The Grand Trio Concertante

Friedrich Kuhlau wrote one composition for two flutes and piano, his Premier grand Trio concertante. Op. 119. This work was probably written in the late 1820's; it was published first by Rudolph

Vessel of London. Thrane says that the composer intended to dedicate the Trio to Franz Steigerwald of VWrzburg, but that the title page indicates a dedication to Jean Sedlatzek.^~

The Trio has th re e movements, an Allegro Moderato, Adagio patetico, and Allegro. The first movement is in sonata-allegro form, with the piano introducing the first theme (Ex. 8) in G Major.

12Thrane, Friedrich Kuhlau. p. 109. 31

Exançile 8. Trio concertante» Op. 119, îlr st Movement, m, 1-^.

?\fvM O

P / 1 3 i g m

Its tonic pedal point is an effect Kuhlau uses also in the Rondo of

his Trio for three flutes. Op. 86 , #3» It will be noticed that the

inner voice of the third measure anticipates the melody of the fourth

measure. The first theme is repeated by the flutes before the second

f lu te p resen ts a bridge theme (Ex. 9) in G Major;

Example 9. Trio concertante. Op, 119, F ir s t Movement, m. 21-23»

iNP FLUTE

Modulating material leads to the second theme (Ex. 10) in D Major in

the piano part. Both thé melody and the accompaniment for this motive

seem rather sentimental and trite for Kuhlau. After a repetition of

this theme ty the two flutes, the exposition ends in D Major using

triplet sixteenth-note scale passages in the piano part and the rlqrthmic motive, 6 /8 / ^3 j , in the flute parts. 32

Example 10. Trio concertante. Op. 119, First îtovement, m.

9=' i 0 --:M È I

It is these last two elements, rather than the first, bridge,

or second themes which are thé basis of the entire development. This

section is quite short in proportion to the whole movement, only twen­

ty-seven bars out of 178. F# minor is the longest stationary kqy

center (nine measures) of the development.

The recapitulation begins with the second flute and the piano playing the first four measures of the first theme in octaves; the next four bars are taken over by the piano while the first flute plays

an obligato of the sixteenth-note triplets found earlier. Except for

the faster rhythmic activity of the accoirçaniment, the recapitulation follows normal procedures, with all the themes appearing in G Major.

The first theme is used during the short codetta at the end of the movement.

The Adagio patetico is, like most Kuhlau slow movements, in a simple temary form. The Major first theme is played by the piano for four bars and then by the two flutes alone (Ex. 11) for the next four measures. The simple sixteenth-note accompaniment of the 33

Example 11. Trio concertante. Op. 119, Adagio patetico, m, 5-8.

1ST FLUTE

p tSfresuHO

2ND FLUTE

second flute provides a beautiful contrast with the long lyrical lin e s o f the f i r s t p a rt. The "A” section o f th is movement continues in four-measure phrases which alternate between the piano, and the flutes with piano acconçaniment. The "B” section introduces a new theme in C minor. Here, the piano alternates with the two flutes

(accompanied by piano) in two-measure phrases. This section concludes in Major, in a passage which leads back to the last section in

Major. The low register of the second flute is used in presenting the first theme again. Aside from octave displacement and changes in ornamentation, the last section balances evenly with the opening sectio n .

The th ird movement is a Rondo with the scheme o f ABACS + Coda.

The first theme is presented by the piano in G Major and is charac­ terized by a two-measure ascending sixteenth-note scale. Repetitions of the theme are given by the flutes and then the piano. The second theme (Ex. 12) is in D Major, again presented first by the piano and 34

Example 12. Trio concertante. Op. 119, Rondo, m. 84-87.

m m a m . à f—» Î F v (blce Sfihcna (io i m m

then hy the flutes. It is unusual in that its tonic is not reached until the fourth measure. The "A" section returns with slight changes

in the rhythm of the acconçaniment. The "C" section (in three flats)

introduces a new lyrical theme (Ex. 13) in E^ Major. For the first

Example 13. Trio concertante. Op. 119, Rondo, m. 179-82.

1ST avmé

p can espress.

time the piano does not participate in any thematic material—this is played hy th e two f lu te s , e ith e r sep arately o r together. However, toward the end of the "C" section, the piano begins to add the long scale runs of the first theme, and all three parts begin to use frag­ ments of the second theme. The second theme returns in its entirety in G Major in the piano and then in the flute parts. The movement then closes with fragments of the first theme, also in G Major. 35

In Kuhlau's Op. 119, the piano is always used, exc^t for several measures in the slow movanant. When it is alone. It takes the roles of the theme and its accompaniment. When the flutes are added, .they cover the thematic material and the piano is reduced to accompaniment figures, especially in Alberti bass patterns. Much of the time, both staves of the piano part are in the bass clef. Kcc^t fo r th e Major theme o f th e Hondo, the piano always Introduces new m aterial.

Concerning the role of the two flutes, the second usually takes the alto line of the music, as e^fpected. But it also plays melodic material, usually in phrases alternating with the first flute.

When the second flute is an accompanying part, i t sometimes uses an

Alberti bass figure. The variety of ways in which Kuhlau arranges the two flute parts and the piano part make his Trio concertante an interesting composition to study and play. CHAPTER IV

THE FLUTE TRIOS

Friedrich Kuhlau's compositions for three flutes are contained in Op. 13, 8 6 , and 90. The first two opuses each consist of three trios, and Op. 90 is a single work. There are, therefore, altogether seven trios. The first edition of Op. 13 was published by Breitkopf und H&rtel in 181/.;^ although definite first publication dates for

Op. 86 and 90 have been unavailable, they can probably be ascribed to the la te 1820's .

According to R ockstro,2 each of the seven trios has a different dedication:

Op. 13, #1 - August Eberhard l-HUler (1767-1817) #2 - Gaspard Kummer (1795-1870) - Wilhelm Klingenbrunner (1782- Î )

Op. 36, #1 - Karl Keller (1784-1855) §2 - Bernhard Romberg (1767-1841) #3 - Louis Drouet (1792-1873.)

Op. 90 - Benoît Tranquille Berbiguier (1782-1838)

These contemporaries of Kuhlau were flu tists, except for Bernhard

^Reinhold Seitz, "Kuhlau, Friedrich Daniel Rudolph, " Die Muslk in Geschichte und Gegenwart. 15 v o ls ., ed. F riedrich Blume (Kassel: BKrenreiter, 1949-73)» VII, 1877.

^Richard S. Rockstro, A Treatise on iha Flute (2nd ed. ; London:

36 37

Romberg, who was a c e l l i s t . Drouet, B erbiguier, and Kummer were also

w ell known, p a rtic u la rly fo r th e ir compositions fo r f lu te .

The general structure of Kuhlau’s flute trios closely resemblea

that of his duets. (See Table 2 below for the formal organization of

Kuhlau’s trios.) Perhaps the use of a scherzo movement as the second

part of à four-movement composition is an influence of Beethoven,

whose music Kuhlau enthusiastically espoused.3

As with the duets, one can find in the trios unusual haimonic

re la tio n sh ip s between movements o r w ithin movements. A study of

Kuhlau’s works reveals the frequent juxtaposition of mediant or sub­

mediant key centers with the tonic. Again, this may reflect Kuhlau’s

admiration for Beethoven's music. Examples of such key relationships

occur in Op. 13, #1, where the outer movements are in D Major and the

Andante is in B^ Major, and in Op, 13, #3, which is in F Major with

an A Major Adagio,. In Op. 90 the Scherzo is in B minor and its trio

is in G Major. The Scherzo of Op. 86 , #1 is in E minor and the trio

i s in C Major. This same work has. a Larghetto movement in B Major,

which has a middle section in D Major. Although the first movement

Allegro assai of Op. 8 6 , #2 is in D Major, the bulk of its development

section is in B^ Major. This is the same relationship that can be found in th e f i r s t movement o f the Op. 39, #3 Duo.

Musica Rara, 1928), pp. 576, 579, 58A, 597, and 6o6-7. Dates in paren­ theses are from Rockstro and BhcvclopHdie der gesammten musikalischen Wissenschaften. Oder. Uhiversal-Lexlkon der Tonkunst. 6 vols., ed. Gusr tav Schilling (Stuttgart: F.H. Kdhler, 1835-Al), IV, 15A, V, Al, VI, Al.

3seitz, "Kuhlau, Friedrich," col. 1875. TABLE 2

FOK-IAL STRUCTURE OF THE TRIOS

Work ' Movement T itle Key Meter Form

Op. 13; Gr. T rios concertants. , #1 Adagio-Allegro d-p C Sonata-allegro Andante quasi 2 /A Extended temaay Adagio Allegro D 6 /8 Rondo

# 2 Allegro non tanto 6 3 /A Sonata-allegro Allegro con molto g 2 /A Rondo B Allegro F 6 /8 Sonata-allegro Adagio con dolcezza A VA Tem aiy Minuetto F 3 /A Ifinuet & Trio

Pp. 86 : Gr. T rios. #1 Allegro e G Sonata-allegro Allegro assai e 3 /A Scherzo & Trio Larghetto B 6 /8 Temary Allegro e 2/A Rondo

# 2 Allegro assai D 6 /8 Sonata-allegro A lleg retto g VA Theme & 7 Var. Allegro molto D VA Rondo

#3 Allegro non troppo G Sonata-allegro Adagio i Tem aiy Allegro ma non tanto E° 3 /A Rondo Op. 90: Trio Allegro non tanto b 3 /A Sonata-allegro Allegro molto b 3 /A Scherzo & Trio Adagio G 2 A Temary Allegro poco agitato b 2 /A Rondo

33 39

One of the stranger key schemes in Kuhlau's writing appears in

the f i r s t movement o f h is Op. 90 T rio. The f i r s t theme of th e exposi­

tion is in B minor, and the second is in F Major and shortly thereafter

in I4ajor. In the re c a p itu la tio n of th is movement, the f i r s t theme is in B minor and the second returns in D Major and C Major. One might expect the final statements of the second theme to be in B Major, since th e movement ends in B minor.

Sometimes, Kuhlau's key changes occur quite abruptly. An ex­ ample of this is in the first movement of the Trio, Op. 13, #2, where the first theme in G minor ends with a complete absence of transitional material. After a ferraata rest, the second theme is introduced immedi­ ately in B^ Major. Similarly, in the Rondo of this composition, the first theme area ends in the tonic, G minor; without any modulatory section, the second theme enters in B^ Major.

The key areas of a movement which are more distantly related are marked by changes in key signature. For instance, in the exposi­ tio n o f the f i r s t movement of Op. 90 the signature changes from two sharps (B minor) to three flats (A^ and Major) for twenty-two measures, and back again. The analogous measures in the recapitulation change from two sharps to no k ^ signature (F and C Major). Another example appears in the first movement of Op. o 6 , //3, Here, the devel­ opment begins with three flats (B^ Major, fourteen bars) and proceeds to one flat (D minor, twenty-nine bars) and four flats (F minor, seventeen bars).

For the most part, Kuhlau follows traditional formal patterns in his trios, but some of the more notevprthy exanples of his writing 40 may be mentioned here. Of the first-movement sonata-allegro forms,

two are mono thematic, that of Op. 8 6 , ^3 and of Op. 13, #1. In the

latter, the dotted-rhythm anacruses of the slow introduction pervade

the entire movement, including the closing theme of the exposition and recapitulation.

In the recapitulation of the first movement of Op. 13, #2, the first theme omits the initial fourteen measures that were presented in the e 3q)osition, thus reducing the first theme area ty one half. The f i r s t movement of the T rio . Op. 13, //3 omits th e f i r s t theme in i t s recapitulation altogether. In fact, the first theme is not very firmly established in the exposition. Beginning in F lia j or, it modulates almost immediately to G minor. So many modulations occur before the entrance of the second theme in C I-Iajor, that this section closely resembles the development (which also leads directly to the second theme).

The Scherzo movements o f Op. 8 6 , and Op. 90 have several characteristics in common. The key relationships between the tonic minor of the Scherzos and major submediant of the trio sections have already been mentioned (supra p. 37). One device found not only in the Scherzos, but also in the Minuet of Op. 13, #3 is a hemiola effect.

(Ex. 1A-16). This type of cross-rhythm can be found in other music by Kuhlau, vdiich is outside the scope of this discussion (e.g. Diver­ tissem ent fo r Solo F lu te. Op. 6 8 , #5, Scherzo, m, 1-4. and Grand Duo in E Minor for Flute and Piano. Op. 71, Scherzo, m, 41-44). a Example 1/,. T rio . Op. 86 , jfl, Scherzo, m. 7-10.

I t t f f T g

J . j - j - I É iSf

Example 15. T rio . Op. 90, Scherzo, m. 4-~7.

Exanç)le l 6 . Trio. Op. 13, #3» I'linuet, m. ^- 6 .

J?

^ = 4 = ^ «j— i 42

The traditional structure for a scherzo or minuet is the

rounded binary form: In the music of Kuhlau the first

section often ends with the dominant and continues with the same

motivic material in the second part as at the beginning. This occurs

in Kuhlau’s Op. 13, #3 Minuet and Op. 90 Scherzo, but the Scherzo of

Op. 8 6 , §1 ends its first section in the tonic, E minor. (Ex. 17).

Example 17. T rio. Op. 8 6 , //I, Scherzo, m. 12-15.

ê i

B m

Kuhlau cleverly makes use of the first section’s closing motives to modulate to his original thematic material in D Major in measure 23.

(Ex. 18).

Example 18. T rio . Op, 8 6 , #1, Scherzo, m. 21-24.

I! 0 •J' 7 m m UJ

The trio sections of Kiihlau's Scherzos and the Minuet are

somewhat sim ila r in th e ir slower rhythmic a c tiv ity , increase of chro­

maticism, and more equal balance of the thi se voices. (The same com­

parison holds true for the Scherzo and Trio II of the Flute Quartet.

Op. 103*) The trio section of the Op. 13, //3 Minuet is especially

beautiful (Ex. 19), and is linked subtly to the Minuet by the F minor

anacruses in the third flute part. These had appeared in all the parts

in F Major at the beginning of the Minuet.

Example 19. T rio . Op. 13, #3, Trio o f Scherzo Movement, m. AV-55.

k À lu,il i ^ g

The slow movements o f th e Kuhlau tr io s abound in ly ric a l melodies, which are varied and ornamented. Of those which are in temary or extended temary form, only the Op. 90 Adagio has a second theme contrasting with the first in key, range, mood, and accompaniment.

Otherwise, in the slow-movement ADA forms, a "B" area tends to be just a harmonic diversion or non-thematic florid extension of previous m aterial.

An example of Kuhlau's inventiveness can be seen in the variety o f ways he presents a very simple theme in the slow movement of Op. 13, ifl* (Ex. 20-23).

Example 20. Trio. Op. 13, #1, Andante quasi Adagio, m. 1-2.

fT t = - ^ £ - 4 - — 1— /

"K------

Example 21. Trio. Op. 13, Andante quasi Adagio, m. 13-14.

£ m

Example 22. Trio, Op. 13, #1, Andante quasi Adagio, ra. 25-26. A5

Example 23. Trio. Op. 13, #1, Andante quasi Adagio, m. A9-50.

X Z 3 r

Only one of Kuhlau's trios, the Op. 86 , #2, contains a theme

and set of seven variations. As with the Op. 102, #3 Duet, the com­

poser chooses a Swedish melody ("Ancien Air Suédois") as his theme,

(Ex. 24). An unusual aspect of this theme is the periodic organization

Example 24. T rio . Op, 86 , #2, "Ancien Air Suédois," m, 1-12.

1ST nvre ; 0 1 [T u i-C tf f fi t'i f J| f. f7 )i| f ■ :s

of its second half. The eight measures fall into a 2+4+2 pattern,

rather than the more regular 4+4 division. The first six variations

maintain the same length as the theme, and of these variations, all

hut the third have the 2+4+2 periodization. Variely is achieved ly means of exchanging parts, elaborating on the melody in sixteenth ■ 46

notes, placing the theme in a lower part with ornamental figuration

in a higher voice, or ty treating the melody imitatively. All the

variations are in G minor and keep the simple harmonic structure of

the original theme, except for the sixth variation, which includes more chromatic harmony brought about largely by secondary dominants

and diminished sevenths. (Ex. 25). The final variation is an Allegro

Example 25. T rio . Op. 86 , "Ancien Air Suédois, " Sixth Variation, ro. 1—8.

r f..& - y i - - —— pr

y -j>-T jP W ' w f y

IIP n r $^ p - y - —■—------1 T

• Jfî- Î f r- f ■

assal in 2/4 meter. It is extended in length and has a brief develop­ mental section which modulates to 0 minor. Fragments of the theme are used to conclude the first part of the variation, terminating with a ferm ata on the dominant. The end o f the va ria tio n (and the movement) consists of the same music as the second half of the sixth variation. 47

the Andante in 6 /8 meter, pins a four-bar closing extension.

The Rondos of Kuhlau's trios follow the extended temaiy pattern of ABABA, except for Op. 90, which has an ABAB + codetta structure.

While the first appearance of the "B" sections is in a key closely related to the tonic, the second presentation is usually in the tonic major or minor. Exceptions to this are the Rondos of C^. 13, #1 and

Op. 86 , #2, both of which have the key schemes: D - A - D - B^ - D.

As in the duets, Kuhlau often treats his thematic material contrapuntally—an exajiçle of this can be found in the second statement of the Rondo motive of Op. 86 , #1. In Op. 13, #2, Kuhlau includes a thre&-part fugal section based on the Rondo theme. (Ex. 2 6 ).

t o -

In two of the Rondos, Kuhlau contributes to their lighter character by including march sections. This can be found in the 48

codetta of pp. 90. The second theme of the Op. 13, #2 Rondo also has

this effect. (Ex. 27).

Example 27. T rio . Op. 13, #2, Rondo, m. 6 O-63 .

W

m m #

The Trio. Op. 86 , #3 has a Rondo theme mademore interesting ly the fact that a tonic pedal point in the third flute is held through a dominant as v e il as a to n ic hazmony. (Ex. 28).

Example 28, T rio . Op. 86 , #3, Rondo, m. 1-2.

p eon y t cut

Kuhlau sometimes achieves continuity between movements of his trios by using similar thematic material. This employment of cyclic A9 form shows a progressive compositional technique for the early nine­ teenth century. Such tendencies were noticed ty Kuhlau's cpntenç)ora- ries, and were mentioned in the review of his Op. 87 Duets.^

- In Op. 86, #1, both themes of the first movement resemble one another (Ex. 29 and 30) and, in turn, they are remarkably similar to th e two liaain themes o f th e l a s t movement (Ex. 31 and 32).

Example 29. T rio . Op. 86, #1, F ir s t Movement, m. 1-2.

1ST FUhE

ÿrrt

Exanç>le 30. T rio . Op. 86, #1, F ir s t Movement, m. 32-33.

Example 31. T rio. Op. 86, #1, Third Movement, m. 1-4-.

1ST FLUTE

^ee Appendix C for a translation of this review. 50

Example 32. T rio. Op. 86, jjO., Third Itovement, m. 95-98.

1ST F I W E

àelu

Sim ilarities among the four themes can be seen in the shapes and legato articulations of the first five eighth notes, which in all cases serve as the anacruses to strong beats. These beats receive emphasis because they are all appogiaturas (first note of the first conç)lete measure of

Ex. 29 and 30, and o f th e second conçlete measure o f Ex. 31 and 32).

Another case of thematic similarity exists in the initial themes of the Duet, pp. 39, #3 (Ex. 33) and the Trio. Op. 86, #2

(Ex. 34).

Exançle 33. Duet. Op. 39, #3, F ir s t Movement, ra. 1-2.

1ST FLUTE

Example 34» T rio . Op, 86, #2, F ir s t Movement, m. 1-2.

1ST FLUTE 51

Kuhlau occasionally provides interest through rhythmic ambi­

guity. This can be found in the first two measures of the first move­

ment of Op, 90. It also occurs in Op* 13, #2 (Ex* 35)* In this

Example 35* T rio . Op, 13, ^2, F ir s t Movement, m. 1-2.

example, the entrance of the second and third flutes momentarily gives

the impression that the meter is 2/4 rather than 3 /U' (h f

The ways in vdiich Kuhlau uses the three flutes are fairly

typical. The first flute almost always presents thematic material for

the first time. When it appears in the other voices it is either by means o f Stimmtausch (Op. 13, #1, Rondo, m. l- l6 ) or with th e add itio n

of an obligato passage in the first and/or second flute (Op. 90,

Adagio, m. 22-28). As in the duets, the lower parts often accompany with an A lb erti bass p a tte rn (Op. 86, jfO., F ir s t Movement, th ird f lu te , m. 194-97). Some of the sixteenth-note passagework in all three flutes sounds like Tschaikovsky's scoring of orchestral rausic^ (Op. 90,

5cf. Peter Ilyich Tschaikovsky, "Danse des M irlitons," Nut­ cracker Suite. Op. 71a (Leipzig: Eulenberg, n.d.), m. 3-42* 52

First Movement, m. 32-38). It is possible that Tschaikovsky was in­

fluenced by the conçositions of Kuhlau. He was a flu tist himself and

it is known that he enjoyed playing the music of the Danish composer.^

' The seven trios for flutes by Kuhlau present a remarkable

variety of music. Adhering basically to standard early nineteenth-

century forms, Kuhlau breaks from expected patterns in many original

ways, using unusual key relationships and clever motivic writing. All

three flute parts cover the two and one half octave range \diich it was

possible to execute comfortably on the pre-Boehm flute (first and

second flutes—c to a^, third flute—c to g2). The first flute part

is usually more difficult because of its faster rhythmic activity and

ornamentation, but the other parts are also often called upon to play

challenging figurations. When played well, the Kuhlau trios are a

meaningful contribution to the realm of chamber music for the flute.

^Herbert Kfllbel, Von der Fldte (Kassel: Bërenreiter, 1966), p. 125. CHAPTER V

THE ELUTE QUARTET

Probably the best known and most popular composition by

Kuhlau is the Grosses Quartett for four flutes, Op. IO 3, One can assume that it was written during or shortly before the composer's visit to Leipzig in July of 1829, since Thrane states that Kuhlau heard his new Quartet performed at the villa of the music publisher

Bflhme at that time.^ When the first flu tist of the group performing the work began conversing with Kuhlau about the fine technical aspects of his writing, he could hardly believe that Kuhlau did not consider himself a flutist. Kuhlau dedicated this opus to Johann Wilhelm

Gabrielski (1795-184-6), a flu tist and composer in the Royal Chapel in Berlin.2

The Quartet has four movements; Andante Maestoso—Allegro a ssa i con molto fuocc. Scherzo, Adagio molto, and Rondo. The f i r s t movement of this work is in sonata-allegro form preceded by a slow introduction in E Major. The dramatic character of the entire movement is emphasized in this first section by the use of the

ICarl Thrane, Friedrich Kuhlau (Leipzig: Breitkopf. und Hflrtel, 1886), pp. 108 and 4-8-4-9»

^Richard S. Rockstro, A Treatise on the Flute (2nd ed.j Inndon; Musica Kara, 1928), pp. 584 and 592.

53 5U

maestoso tempo, frequent dotted rhythms, and fortissimo to pianissimo,

dynamic levels. (Ex, 36 ),

Example 36 . Quartet. Op. 103, F irst Movement (Andante Maestoso), m* 1-5.

I

"I: v ' ' ; # T 7

A four-measure cadenza for the first flute leads at measure

20 to th e movement proper, vdiere the f i r s t theme is in E minor. I t is somewhat unusual for a slow introduction in sonata-allegro form to be in a major key and the body o f the movement to be in a minor key.

If there is a distinction one would expect the reverse.^ This type

3ror instance, in the i^rnphonies of Haydn, a composer noted f o r the development of symphonic forms, tw enty-eight movements have slow introductions. All but two of these maintain the same major key area for both the slow introduction and main portion of the movement. The f i r s t movements of Nos. 98 and 101 begin w ith the minor mode, but their main sections are in the parallel major mode. 55

of relationship also occurs in the first movement of Kuhlau's Duo

Brillant. Op. 102, #2, where the slow introduction is in E I&jor lead­

ing to the main section in E minor.

- The first theme of the exposition is played ty the first flute

and is characterized by dotted rhythms and angular leaps of an octave

or of a Seventh, while the other parts have no melodic interest, but

give harmonic and rhythmic support, (Ex. 37). The rhythmic motive

Example 37. Q uartet. Op. 103, F ir s t Movement (Allegro a ssa i con molto fuoco), m. 25 - 28.

l [ f f f j i t ■ = - A) c -Lji»—I-"-...— : f . ■ = : ^ p >

Y ' ' f / J v - F T l- h ------j----7^T~i 1 u j c - t - .. - l - J - [ 4 - . ~Y / T T l f .. JJf- f ------p

"7 T - r i ■■ 1 V-— y j i I- J i- 7 J i J 4 f' / — J 0- 0— 2 — iw tr . w T r? 7? V r ■ ------p

4"— 35—y <■ Y —J 1 < V- ...... ■ - (U C--Lr._ ' ; J 3 i-f... ..y/TJ J ?- r

of the first theme (||. f j. XD ) is the basis of transitional ma­ terial to the second theme, vAiich is in G Major. The firs t’flute presents the melody, which differs from the first theme in its slower motion, equal note values, legato articulation, and its narrower 56

range. The function of the subordinate parts, however, is the same as

th a t fo r the i n i t i a l theme. (Rx. 38).

Example 38. Q uartet. Op. 103, F ir s t Movement, m, 72-75.

f i f - f - r - -f- f-ir Ac\ce

m m m i ?

6 rusijm vfC f ?t tf.

f m 1TÎ} m

It is typical of Kuhlau to repeat his subjects in the same key in a different voice before presenting new material. Both the first and second themes of the exposition are treated in this manner.

When the second theme is given to the second flute, it appears an octave lower than did the first presentation, while the first flute plays a triplet obligato passage above it. To compensate for the greater activity in the highest part, the lower two voices abandon their eighth-note accompaniment and play chord tones of longer dura­ tion. (Ex. 39). 57

Example 39» Quartet. Op. 103, F irst Movement, ra. 89-92.

Q r m itif gf m^îj' —3------Ï----- —3 '— — J. ,iJ£ F-y [If ciJ - ■ ------mf

_ _ ?— - 4— —1— ■ « “ f — o — - —M ------... - J ------' . — * (T-—-

fe> ------y^ ------Q.------©------4— - -4-— ^ ______

I f f - : = W ------—\------— ■■ Ok.------J — ^ ------|r*rf ------

The closing motive of the exposition is a legato eighth-note

arpeggio figure, which Kuhlau treats imitatively. (Ex. ^O). To this

Example ^0. Q uartet. Op* 103, F ir s t Movement, m. 98-99»

dalce

p

c " 'f % a ; 58

motive sixteenth-note scale passages are gradually added. The intensi­

ty increases through louder dynamic levels, the piling up of voices,

faster rhythmic activity, and more angular melodic Diaterial. The ex­

position closes with a codetta and a fermata on the dominant seventh

of E minor. There is no repeat of this section.

Some of the tension of the development section is achieved

through the use of diminished seventh chords, the emphasis of weak

beats, and dotted eighth- and sixteenth-note rhythms played against

eighth note triplets. A new theme, similar in character to the second theme of the exposition, appears in C Major. (Ex. 41). After thematic

Example 41» Q uartet. Op. 103, F ir s t Movement, m. 141-44»

«va

iA ~ p dekc

repetition by the second flute, the closing motive of the e: 5q)osition is presented as it had been earlier, but in A minor. Kuhlau does not make use of the first and second themes in the development at all. 59

Having passed through the k ^s of E minor, C Major, D minor and A minor,

this section ends in E minor.

The recapitulation follows the patterns of key relationships

and order of thanes typical of early nineteenth centuiy music. In this

case, the first theme appears in E minor, and the second in E Major.

The coda reverts back to E minor and is based on material from the

first theme.

The second movement is also in E minor, the characteristics of

the Scherzo theme being the leap of a minor sixth, staccato articula­

tio n , f o r ts djTiamic le v e l, and im itativ e treatm ent o f a l l th e voices.

(Ex. 4-2). This movement is in an episodic form, having two tr io s

Example 42. Q uartet. Op. 103, Second lk)vement (Scherzo), m. 1-8.

m m m

m

BEM im BE a m idiich provide contrast with each other as well as with the Scherzo itself. Trio I is in E Major with all the melodic interest 60 concentrated in the lyrical first part. With the ”oom-pab-pah" effect given by the other voices, the first trio is not unlike a waltz. The fx 2 j[jj the first complete measure of this section adds a charming touch to the character of the melody. (Ex. 43),

Example 43* Q uartet. Op. 103, Second Movement (Trio I ) , m. 37-44»

m

m u g m

t

f" ■ Ê

The second tr io o f the Scherzo movement i s in C Major. One might eijqject this section to be in G Major, but Kuhlau uses the lowered submediant of E minor instead. As mentioned earlier (supra p. 37), one of the trademarks of Kuhlau's writing is the frequent use of the submediant and mediant in key relationships between themes, sections of movements, or between movements, rather than the more common employment of dominant, subdominant, or relative major and minor key areas. 61

AU voices in the second trio have similar rhythmic values.

Note durations are longer than those found in the Scherzo or Trio I.

Throughout this section, the first and second flutes alternate between

the melodic line and obbligato material. (Ex. 44-}* A six-measure

Exançtle A4» Q uartet. Op. 103, Second Movement (Trio I I ) , m. 69-76.

extension leads back to the final presentation of the Scherzo, and the

movement closes in E minor with an eleven-bar coda similar to the

Scherzo in its vigor.

The th ird movement o f Kuhlau's F lu te Q uartet i s an Adagio in

ternary form. It begins in B Major with slow-moving note values in

each part. Gradually the rhythmic activity increases, especially in

the first flute part, which has the melody. After two statements of

the theme, a four-bar transition leads, by means of secondary domi­ nants and diminished sevenths, to the middle section of the movement. 62

The fact that this section is in Major is unusual, but this can

perhaps be explained by considering that it is approached as D# Major,

its enharmonic and the mediant of the original key, B I-lajor. The

second.flute plaÿs the two-measure theme twice viile the first has

triplet arpeggios. A series of dominant sevenths move toward the key

of B Major again, but a deceptive cadence in G Major and further modu­

latory material delay the return to the first section. With the ex­

ception of some voice exchanging and embellishment of melodic lines,

th e l a s t p a rt of the movement d iffe rs veiy l i t t l e from the f i r s t . The

formal proportions of the Adagio are:

A (21 bars) - B (14 bars) - A (24 bars)

Keys: B Major - Major - B Major

The l a s t movement o f Kuhlau’s Op. 103, e n title d Rondo, f a lls

into two large sections of similar content and length. The first

theme, in E minor, is played by the first flute, accompanied by a

static rhythmic pattern in the other parts. (Ex. 45)- A "con fuoco" transition leads to the second theme, which is also in E minor.

(Ex. 46 ). Here the voices are well balanced in interest, being treated more contrapuntally. The third theme is quite similar to the first in its rhythmic patterns, articulations, and unchanging eighth- note accompaniment. (Ex. 47). Its key, however, is G Major, with a brief modulation to A minor. The first half of the Rondo ends in G

Maijor, but the tonic chord does not include the fifth of the triad, D.

Thus, it acts as the pivot chord for the immediate change to E minor 63 for the second part.

Exanç)le A5. Quartet. Op, 103, Fourth Movement, m, 1-8. t jtgri |fff/ jifff f iff)

ËS m

#

3 tT O t o i S q ; % / f ' g(.

Example 46 . Q uartet. Op. 103, Fourth Movement, m. 65-70.

nvircai)

m moitAt »

z : M : vnweatb

g m ■f m a r c o to 64

Exançjle 4-7. Quartet. Op. 103, Fourth Movement, m. 86 - 93.

m e s t S m m s SchcrtAnIo r t m . . Xi. i? m m m m scharsdnb

P m a s

m m ËS m s f

The second section of the Rondo consists of the same thematic material as the first, the key relationships being the main difference between the two sections. The first theme is in E minor, the second is modulatory, and the third is in E Major with a diversion to F# minor. This time,.the second theme receives fugal treatment, with tonal answers to the subject. (Ex. 48). 65

Exançle JS* Quartet. Op. 103, Fourth Movement, ra. 211-29.

q | # # = W- ^ — r - p — .. :!. Ll-----[_ 4— — 4— LJ__ iXXrr— ft fP e U T - marftrf> I r ^

: 4 * Z PI f ------p — J m -M- X------_W c— ^ f w«rc

“1—r~7----- f — 7 — L = J b * # r i f r ^ - f - - 6 —4-f- f _ u kLt-g*--- f f nuuvAi >

- ' # n----- ±:— 5^ _ . . . — , - /:—r - t - T :3— -W- -J— — 4 - 4 - -J—X-

Ê m m m f

% a a m e

■JLJL e Ê m m W g f

I ï ï m BE

A diagram of the final movement of Kuhlau's Quartet clearly

shows the stru c tu re o f the tw o-part movement: 66

Themes: 1 (m. 1-6A) 2 (m. 65 —84) 3 (m. 85-Ué)

Keys: E minor E mi-ior G Major

S ty le: Homophonie, Contrapuntal, Homophonie, Treble-dominated Voices equal Treble-dominated

Themes: 1 (m. 147-210) 2 (m. 211-57) 3 (m. 258 - 324)

Kqys: E minor Modulatoiy E Major

S ty le: Homophonie, Contrapuntal, Homophonie, Treble-dominated Voices equal Treble-dominated

A syinmetiy of the entire Quartet can be seen in the key relationships

of the outer movements. The Andante Maestoso is in E I-lajcr, and the

body o f th e f i r s t movement i s in E minor. The f in a l movement begins

in E minor but ends in the major tonic.

The most active parts in this composition are the upper two

voices, especially the first flute. In this respect, the Kuhlau

Quartet is reminiscent of an early Haydn string quartet. The lower

voices, however, are not without interest. Together, they often

create a rhythmic and melodic activity contrasting with the first and

second flutes. The ranges of the four flutes span from B# to a^.

The fourth flute is restricted to the lower and middle octaves, but

the other three parts coyer the entire effective range of the early

nineteenth-century flute.

H. Macaulay Fitzgibbon says that flute quartets generally have

the insuperable defect of the lack of a bass or tenor tone.^ In spite

Ah . Macaulay Fitzgibbon, The Storv of the Flute (2nd ed. ; New York: Charles Scribner's Sons, 1928), p. 18$. 67

of this drawback, Kuhlau wrote a quartet of serious proportion and with

an exciting and dramatic character. There is, perhaps, one instance of

a trite cliche found so often in the light popular salon music of the

early nineteenth century. This occurs in the first movement recapitu­

lation in the transitional material between the first and second

themes (m. 211-19), where Kuhlau uses the diminished seventh chord in

rising chromatic lines over the span of nine measures. Otherwise, the

melodic and harmonic freshness and rhythmic interest of the Op. 103

have earned for it the reputation of being the best flute quartet

written up to the twentieth century. ^ According to Kdlbel, Tschaikov­

sky was known to have enjoyed performing especially this excellent

work hy Kuhlau.^

All the sources of information concerning Kuhlau’s musical

output mention the Flute Quartet. However, in addition to this opus,

Lorenzo states that there was another flute quartet in manuscript de­

stroyed ly the fire at Kuhlau's house. He gives no verification for

this statement that there was more than one quartet.^

^Ibid.. and Reinhold Seitz, "Kuhlau, Friedrich Daniel Rudolph," Die Musik in Geschichte und Gegenwart. 15 vols., ed. Friedrich Blume (Kassel; BHrenreiter, 1949-73), VII, 1878.

^Herbert Kdlbel, Von der Fldte (Kassel: BSrenreiter, 1966), p. 125.

"^Leonard de Lorenzo, IJjr Complete Storv o f the F lute (New York; Citadel Press, Inc., 1951), p« 112. CHAPrER VI

CONCLUSION

Although major sources of information about Friedrich Kuhlau

concentrate on his talents as an opera composer, his chamber works

have also always been admired. For instance, Brahms wote in 185A

that he wanted to leam to play the flute so that he could play the

Kuhlau sonatas with Clara Schumann.^ Tschaikovsky’s appreciation for

Kuhlau’s music has been noted earlier. Some sources indicate that

Kuhlau was known as the "Beethoven of the flu te,p ro b ab ly meaning

th a t he composed as w ell fo r the flu te as Beethoven did fo r other

instruments.

The importance of this instrument in Kuhlau's writing for

other media is brought out in an article from Etude;

"The influence of the flute is quite evident in his piano works which abound in charming passages in the higher octaves of the piano. It is also noticeable in the flow­ ing style of his music—a style peculiar to composers vho are accustomed to play on an instrument capable of

^William S. Newman, The Sonata Since Beethoven (2nd ed,; Chapel Hill: University of North Carolina Press, 1972), p. 60A, n. 8.

^Ibid.. pp. 603-4 and Reinhold Seitz, "Kuhlau, Friedrich Daniel Rudolph," Die Ikisik in Geschichte und Gegenwart. 15 vols., ed. Friedrich Blume (Kassel; Bflrenreiter, 1949-73)j VII, 1875.

68 69

sustaining long voice-like tones, and at the same time capable of great flexibility."3

Although this writer has assumed that Kuhlau was a flutist, he ij

correct in his evaluation of the composer's works for piano.

It is true that Kuhlau wrote a number of flute pieces in the genre of salon music; airs and variations, fantasies, rondeux bril­ lants, and so forth. These works do not match the caliber of Kuhlau's more traditional music, such as that examined in this document. Kuhlau has also been accused of mannerisms such as excessive scale passagework and prolonged endings. But as a whole, his compositions show a fresh­ ness and originality that gained for Kuhlau a solid reputation during his lifetime and throughout the years up to the present.^

According to Seitz, Kuhlau was the most significant composer next to Reicha in the epoch of the prime of flute Hausmusik. up to th e 1830's.5 Certainly every flutist can appreciate Lorenzo's estimate of Kuhlau as a composer whose "name w ill be honored, and his music loved ty every admirer of the flute who has a soul above fantasies and variations on Scottish sind Irish airs.

3"Some Interesting Facts about Friedrich Kuhlau," Etude. Vol. XXXII, #10 (October, 1914), p. 712.

^Newman, Sonata Since Beethoven, p. 604 .

5Seitz, "Kuhlau, Friedrich," col. 1876.

^Leonardo de Lorenzo, ^ Complété Storv of the Flute (New York: Citadel Press, Inc., 1951), p. 109. AEPMDIX A

CATEGORICAL LISTING OF KÜHLAU'S MUSIC FOR FLUT£A

Solo Flute; Op. 10b - Variations et Caprices fflr Flflte C^. 3 8 - 2 Fantasien fdr eine Flflte

F lu te & Piano: Op. 57-2 erands Solos fflr Flflte mit Ffte. ad lib. Op. 63 - Var. über ein Thema aus Euryanthe fflr Pfte. und obi. Flflte Op. 64 b - to. Sonata Brill, f. Pfte. und Fldte C^. 68 - 6 Divertissements fflr Flflte mit Begleitung des Pfte. ad lib. Op. 69 - to. Sonate fflr Pfte. und Flflte . Op. 71 - to. Sonate fflr Pfte. und obi. Flflte Op. 83 - 2 grosse Sonaten fflr Pfte. und obi. Flflte Op. 85 - to. Sonate fflr Pfte. und Flflte C^. 94 - Var. concertants over en Arie a f "Le Colporteur" fflr Pfte. und Flflte Op. 95 - 2 Fantasien fflr Flflte mit Begleitung des Pfte. ad l i b . Op. 98 - Intr. et Rond, concert, sur le choeur du "Colporteur": "AIil quand il gèle", fflr Pfte. und Flflte^ Op. 99 - Ihtr. et Var. concertants sur l'a ir du "Colpor­ teur": "Toujours de mon .jeune âge" fflr Pfte. und Flflte Op. 101 - Intr. et var. b rill. (Thema aus "Jessonda") fflr Pfte. und Flflte Op. 104 - Var. sur un air fav. Ecossais fflr Flflte mit P fte . ad l i b . Op. 105 - Var. sur un air fav. Irlandais fflr Flflte mit pfts* Mm. , pp. 110 - 3 Duos b rill, fflr Pfte. und Flflte Coder V ioline)

^This lis t is based on the Werkverzeichnis given by Carl Thrane in Friedrich Kuhlau (Leipzig: Breitkopf und Hflrtel, 1886), pp. 101-10.

^Listed as Intr. et Var. concertants sur l'a ir ^ "Colpoi^

70 71

APPENDIX A (continued)

Flute & String Quartet: Op, 51a - 2 Quintette für Flflte. Violine. 2 Bratschen und Violoncello

Two Flutea: Op. 10a - 2 Duos concertants für 2 Flflten Op. 39 - 2 grouse Duos fü r 2 Flflten Op. 80-2 Duos fflr 2 Flflten Op, 81-2 Duos fflr 2 Flflten Op. 87 - 2 gr. Duos fflr g Flflten C^. 102 - 2 Duos b rill, fflr 2 Flflten

Two Flutes & Piano: Op. 119 - Premier gr. Trio concertant fflr 2 Flflten und Pianoforte

Three Flutes: Op. 13-2 ££• Trios concertants fflr 2 Flflten Op. 86-2 flZ* Trios fflr 2 Flflten Op. 90 - Trio fflr 2 Flflten

Four Flutes; Op. 103 - Grosses Quartett fflr 4 Flflten

teur": "AhI quand il gèle" fflr Pfte. und Flflte by Karl Graupner, "Friedrich Kuhlau"~^tmpublished Ph.D. dissertation, Ludwig-Maximilian University, I>fimich, 1930), P- 72 and Reinhold Seitz, "Kuhlau, Friedrich Daniel Rudolph," file Musik in Gesohichte und Gegenwart. 15 vols,, ed. ïrie d ric h Blume (Kassel; B flrenreiter, 19A9-73), VII, 1877. However, an announcement of this opus as listed by Thrane appears in the Ihtel- ligenz-Blatt zur Allgemeine musikalische Zeitung. VII (June, I 830). APPENDIX B

PUBLICATION INPORl'IATION KUHLAÙ'S MUSIC FOR TWO, THREE, AND FOUR FLUTES

F irst F ir s t Opus T itle l Edition^ Publisher D edication

10a 3 Duos concertants 1813 Leipzig: G.D. für 2 Flflten B reitkopf de Lorichs u. Hflrtel

13 3 er. Trios concer­ 1814 Leipzig: A.E. tants für 3 B reitkopf i m i e r Flflten u. Hflrtel

39 2 s:* Duos 2 (1822) Leipzig: A.B. Flflten B reitkopf Fürstenau u . Hflrtel

80 2 Duos fü r 2 (1828) Leipzig: J.W. Flflten P eters G abrielski

81 3 Duos fü r 2 (1828) Leipzig: J.L . Tulou Flflten P eters

86 3 RT. T rios f . 3 (1827) Hamburg: C. K eller Flflten Bflhme

^Taken from the Werkverzeichnis given by Carl Thrane in Fried­ rich Kuhlau (Leipzig: Breitkopf und Hflrtel, 1866), pp. 101-10.

^Earliest dates of publication known to the writer are given in parentheses. These dates are based on information found in bio­ graphical accounts, library catalogs, and contemporary reviews and advertisements.

72 73

APPHffilX B (continued)

F ir s t F ir s t Opus T itle E dition Publisher Dedication

87 i g£. Duos f. 2 (1827) Mainz; Counsellor Flflten S chott P.F. Tliomam

90 Trio fflr Flflten (1828) Mainz; T. Schott Berbiguier

102 3 Duos brill, f. (I 830) P aris; Moritz. 2 Flflten Farrenc lab el (Thrane) C. Scholl (Rockstro)

103 Grosses Quartett (perfor- Leipzig; J.W. f . 4. Flflten mance, 1829; Peters G abrielski publication, I 830)

119 Premier gr. Trio (1834) London; Jean conc. f. 2 Rudolf Sedlatzek Flflten und Pfte. Wessol APPMDIX C

CONTHffORARY REVIEWS

Opus 10a

Allgemeine musikalische Zeitung. Vol. XVI, #30 (July 27, 181A), col.

508 . Trois Duos concertans nour deux Flûtes ty F. Kuhlau. Op. 10.

Leipzig; Breitkopf und HJLrtel.

If two flutists of considerable skill on their instruments, of refined taste directed more toward the serious, the meaningful, and the artis­ tic than toward the galant, the glittering, and the superficial, and of the inclination also to practice many an exception from the usual treatment of the instrument, and to join one another closely in per­ formance—if two such flutists want to converse through duets, we can recommend to them from the products o f recen t years no o th er composi­ tions as unconditionally as those named here, and are certain that they will be satisfied with us, that we have drawn their attention to them, and to be sure even more after repeated playing. Herewith these compositions are us closely described as serves the purpose of this brief announcement and to the extent which may serve those”for whom the works are intended. 75

APPENDIX C (continued)

Opus 87

Allgemeine m usikalische Zeitung. Vol. XXX, //47 (November 19, 1828),

cols. 791-92.

Trois grands Duos concertans pour deux Flûtes by p. Kuhlau.

Op. 87. Mainz: B. Schott.

As many times as the reviewer has had opportunity to hear duets of this master, thqy lead anew to the pleasing evidence that Mr. Kuhlau understands how to cultivate perfectly this difficult music genre; whereby his considerable knowledge in the art of double counterpoint assists him in always remaining interesting, even after frequent hear­ ing. Mr. Kuhlau's melodies are almost always lovely, often termed sublime; those which are contained in one and the same composition refer to one another, or are related with regard to character. Even if he branches off from them, one easily notices an intelligent reason for it. He always knows how to create something from his themes: at times he uses portions of them for interludes and transitions, at other times he derives new passages from them, or elevates them to fugues and canons. Everything stands thereby in its proper place, that is to say, one can imagine nothing else as a substitue, and the feeling of pleasure, which is brought forth just ly means of the cor­ rect arrangement of the entire piece, is the loveliest. What is here said concerning the value of Kuhlau's flute duets in general is also valid for those under consideration, only that these are considered somewhat more galant than the earlier ones. The second duet of this 76

APPENDIX G (continued)

set, in G minor, will doubtless become a favorite of the player, since

it appeals powerfully to the sentiments. Two rather accomplished

flutists can overcome the difficulties in these duets; yet novdiere is

too much demanded o f th e f lu te , but e *eiything i s w ritten with exact

knowledge of the instrument £sunra p. n]|. Also the timing often de­ mands well-practiced observance. Good opportunity for suitable breath­

ing is almost always, given, and indication of an articulation suitable

to the figures, as well as accentuation leading to an elevating per­ formance is provided with accuracy.

The engraving is clear, but unfortunately not free of errors; the reviewer counted seventeen of these, whose report and statement concerning improvement would take too much space here; they can easily be corrected by each musician, but this must be done before playing, if one desires quiet enjoyment.

However th ere has remained a small com positional mistake from the composer himself, seldom to be found in Mr, Kuhlau *s clear manner of writing, in the Larghetto of the third duet in the eighteenth mea­ sure. The first five sixteenth notes of the ascending accompaniment are written c#, e, a, c#l, d^; instead it would be much better as shown below:

m BIBLIOGRAPHY

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Music

Album of Flute Duets. Revised by Louis Moyse. Hew York: G. Schirmer, Inc., 1965. Includes works by Reicha, Drouet, and Kuramer.

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r, Three Duets for Two Flutes. Op. 10. New York: Ditematj/'nal Music Co., [n.dZjT

------Three Grand Duets. Op. 39» New York; Cundy-Bettonoy Co., D ie., Ip.d.}

------Three Duets. Op. 80. New York: Carl Fischer, Inc., 1967.

------Three Duets. Op. 81. Boston; Cimdy-Bettoney Co., (n.d.3

Three Duos C oncertants. Op. 87. New York; In te rn a tio n a l Music Co., [n.d.3

------Three B rilliant Duets, Op. 102. Boston; Cundy-Bettoney Co., In c ., QiVdtJ

------—Trio. Op. 119. Paris; K.-R. Braun—Gerard Billaudot, {n.d.3

— Trois Grands Trios. Op. 86. Paris; Billaudot, jn.d.3

— ------—Trois Trios. Op. 13. Paris: Costallat, [n.d.]

Kuimer, Gaspard. Trois P e tits Duos F aciles pour Deux F lu te s. Op. 20. Paris; Costallat, jn.d.3

Trois Duos Faciles et Instructifs pour Deux Flutes. Op. 71. Paris: Costallat, fn.d .3

-—---- ——Three Duets for Two Flutes. Op. 132. New York; International Music Co., (n.d .3

Tschaikovsky, Peter Ilyich. "Danse des I-ürlitons. " Nutcracker Suite. Op. 71a. Leipzig; Eulenburg, (n.d.]