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Opera and the Eighteenth-Century Wind Band, a Lecture OPERA AND THE EIGHTEENTH-CENTURY WIND BAND, A LECTURE RECITAL, TOGETHER WITH THREE RECITALS OF SELECTED WORKS OF C. P. E. BACH, B. BRITTEN, D. BUXTEHUDE, J. H. FIOCCO, R. MALIPIERO, A. MARCELLO, W. A. MOZART, F. POULENC, G. SCHULLER, R. SCHUMANN, AND A. VIVALDI DISSERTATION Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts By Robin Zemp Hough, B. M., M. M. Denton, Texas August, 1976 @ Copyright by Robin Zemp Hough 1976 ii Hough, Robin Zemp, Opera and the Eighteenth-Century Wind Band, A Lecture Recital, Together With Three Recitals of Selected Works of C. P. E. Bach, B. Britten, D. Buxtehude, J. H. Fiocco, R. Malipiero, A. Marcello, W. A. Mozart, F. Poulenc, G. Schuller, R. Schumann, and A. Vivaldi. Doctor of Musical Arts (Oboe Performance), August, 1976, 22 pp., bibliography, 20 titles. The lecture recital was given on June 27, 1976. Wind band arrangements of popular opera music were commonly used for serenades and table music in German-speaking countries during the eighteenth century. Selections from J. G. Triebensee's arrangement of W. A. Mozart's Don Giovanni were performed by a wind band following the lecture. In addition to the lecture recital, three other public recitals were performed, including solo compositions for oboe and chamber works including oboe. The first recital was on October 7, 1974, and included works of Buxtehude, Mozart, Marcello, and Britten. The second recital, on February 3, 1975, consisted of works by Vivaldi, Mozart, Poulenc, and Malipiero. The third recital, on March 22, 1976, included works by Fiocco, C. P. E. Bach, Schumann, and Schuller. All four programs were recorded on magnetic tape and are filed with the written version of the lecture material as a part of the dissertation. Tape recordings of all performances submitted as disser- tation requirements are on deposit in the North Texas State University Library. iii TABLE OF CONTENTS Page PERFORMANCE PROGRAMS First Recital ................................. v Second Recital.......................... ...... vi Third Recital ........... ..... vii Lecture Recital........... ....... viii OPERA AND THE EIGHTEENTH-CENTURY WIND BAND.. ...... 1 APPENDIX............................. ....... 14 BIBLIOGRAPHY.............................. ......... 21 iv North Texas State University School of Music presents tODIN HoUGh OROE assisted by MiChael Riekmnan, keyboard Loren Laing, violin Ruth Gibson, viola Leslie Ing, violin BrianSagueg eello MONDAY, OCTOBER 7, 1974 8:15 P.M. RECITAL HALL Two Chorale Preludes ...... Nun bitten wir Dietrich Buxtehude Komm, heiliger Geist Concerto for Oboe in C Major, K. 314 Allegro aperto W. A. Mozart Adagio Rondo-Allegretto INTERMISSION Concerto in C Minor for Oboe, Strings, and Continuo ...... Allegro moderato Alessandro Marcello Adagio Allegro Phantasy Quartet for Oboe, Violin, Viola, and Cello, Op. 2 .......................... Benjamin Britten Presented in partialfulfillment of the requirementsforthe degree Doctor of Musical Arts V North Texas State University School of Music presents ROBIN HOUGH, OBOE assisted by ihichael Ricknan. piano Ruth Gibkson. riola Elisabeth.iA d kins. riolin Fred Hood. eIlo MONDAY, FEBRUARY 3, 1975 8:15 P.M. RECITAL HALL Concerto in D Major, P. 187.......................... Antonio Vivaldi (1678-1741) Allegro Largo Allegro Quartet in F Major, K. 370, for Oboe and Strings................................W . A. M ozart (1756-1791) Allegro Adagio Rondeau: Allegro INTERMISSION Sonata for Oboe and Piano (1962)...................... Francis Poulenc (1899-1963) Eldgie Scherzo Deploration Sonata for Oboe and Piano (1959).................. Riccardo Malipiero Moderato (1914- ) Veloce e grottesco Deciso Presented in partialfulfillment of the requirements for the degree Doctor of Musical A rts NORTH TEXAS STATE UNIVERSITY PRINTING OFFICE, DENTON, TEXAS vi North Texas State University School of Music presents ROBIN HOUGH, OBOE .4MES lilA THIS, PIANO assistedby Charles Veazey,* oboe Fred Hood, eello Barbara Efird, harpsicord A dagio ......................................................... J. H . Fiocco- H ough Trio Sonata in D Major, Wq. 162 ................................ C.P.E. Bach Allegretto Adagio di molto Allegro assai Drei Romanzen, Op. 94 ......................................... Robert Schumann I. Nicht schnell 11. Einfach, innig Ill. Nicht schnell INTERMISSION Sonata (1948-1951) .............................................. G unther Schuller 1. Andante-Allegro 11. Lento II1. Rondo * School of Music Faculty Monday, March 22, 1976 Recital Hall 8:15 p.m. Presentedin partialfulfillmen t of the requirementsfor the degree Doctor of Musical A rts NORTH TEXAS STATE UNIVERS TY PRINTING OFFICE. DENTON TEXAS vii North Texas State University School of Music presents OPERA AND THE 18TH CENTUR Y WIND RAND A Lecture Recital given by Robin Z. Hough SUNDAY, JUNE 27, 1976 8:15 P.M. RECITAL HALL The Performers Robin Hough and Charles Veazey, oboe John Petersen and Melvin Cooksey, clarinet Kelbert Taylor and David Gibson, bassoon Peter Nelson and Cara Beth Phelan, horn Harry Jacobson, bass conducted by Marianna Gabbi viii Selections from DON 0GIOVANNI by Wolfgang Amadeus Mozart (1756-1791) as arranged by Johann Georg Triebensee (1746-1813) Overture Madamina, il catalogo e questo La ci darem la mano Fin ch'han dal vino Finale Act I Deh! Vieni alla finestra 4i tradi quell'alma ingrata Troppo ml space Finale Act II Presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts N,-R i T AAS STATE uNIVERSiTY PRINTING O FFICE DENTON TEXAS ix OPERA AND THE EIGHTEENTH-CENTURY WIND BAND During the course of the eighteenth century, striking developments in the manufacture of wind instruments gave impetus to their increased usage. Pairs of oboes, bassoons, and horns became the standard Harmonie or wind band ensemble. Improvements on the clarinet led to its inclusion in the group during the second half of the century. In Austria, Germany, and Bohemia, the popularity of wind instruments made this wind octet the usual ensemble for serenades and outdoor concerts by about 1775. The wind band was also moved indoors for table music. 1 Noteworthy is the fact that the familiar thorough bass of this period was omitted from these outdoor performances, no doubt because of the obvious inconveniences of transporting a keyboard instrument about. So "with respect to ensembles of more than two instruments, performance without thorough bass was sanctioned out of doors before it was accepted in the chamber." It is reasonable to assume, however, that a cello or bass might have been employed, when available, to strengthen the bass line. 10. Lee Gibson, "The Serenades and Divertimenti of Mozart," unpublished dissertation, School of Music, North Texas State University, Denton, Texas, 1960, pp. 169-70. 2Ruth Halle Rowen, Early Chamber Music (New York, 1949), p. 140. 1 2 German-speaking countries abounded with street musicians. Even the young Joseph Haydn supported himself in this manner when he first arrived in Vienna.3 An eighteenth-century almanac describes the custom: On fine summer nights you may come upon sere- nades in the streets at all hours. They are not, as in taly, a mere matter of a singer and a gui- tar . .but these serenades consist of trios, quartets, mostly from operas, for several voices, for wind instruments, often for a whole orchestra, and they perform the greatest symphonies. and however late a serenade is given, all windows are soon filled and in a few minutes the usicians are surrounded by an applauding audience. Mozart describes the practice in a letter to his father on November 3, 1781. At eleven o'clock at night I was treated to a serenade performed by two clarinets, two horns, and two bassoons--and that too of my own composi- tion. .. The six gentlemen who executed it are poor beggars who, however, play quite well together, particularly the first clarinet and the two horns.7 The work referred to is K. 375, a serenade composed in October, 1781. During his visit to Vienna in 1772, the famous Dr. Burney writes: "There was music every day, during dinner, 3 Karl Geiringer, Haydn: A Creative Life in Music, rev. ed. (Berkeley, 1968), p. 29. ~~ 41bid. 5Rowen, op. cit., p. 141. 6 Geiringer, op. cit., p. 29. 7 Emily Anderson, The Letters of Mozart and His Family, 2nd ed., 2 vols. (New YorkT1966),71I, p.776 . 3 and in the evening at the inn, where I lodged. .. This : consisted of French horns, clarinets, hautboys, and bassoons."8 Burney's estimation of the talents of these particular musi- cans was not exactly kind; but in the introduction to his record of this journey, he allows that Much of the present excellence of instrumental [music] is certainly owing to the natives of Germany, as wind and keyed instruments have never, perhaps, in any age or country, been brought to a greater degree of refinement, either in construc- tion or use, than by the modern Germans.9 The popularity of these Harmonie groups was not limited to the common citizens and wandering street musicians, but extended into the finest homes and courts, both great and small. According to Mozart's nineteenth-century biographer, Otto Jahn: In the matter of occasional music the so-called Harmoniemusik for wind instruments--chiefly for table music and serenades--was greatly cherished. Noblemen frequently retained, instead of a complete orchestra, at least their own Harmoniemusik. Kaiser Joseph himself had sought for his band eight recog- nized
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