Opera and the Eighteenth-Century Wind Band, a Lecture

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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

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 dissertation 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

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 serenades 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 virtuosi who played at dinners, especially when these were held in the Kaiser's garden. ... In addition to the serenades performed in a larger open place for the public, there was the old-style serenade (Standchen) at the window, diligently practiced for birthdays. ... Also for these Nachtmusiken wind instruments were especially beloved. ... Such an 8-voiced Harmonie was used

8 Charles Burney, An Eighteenth-Century Musical Tour in Central Europe and the Netherlands, edited by Percy A. Scholes (London, 1959), p. 114.

9 Ibid., p. xii. 14

for princely tables and night music by . . . the Elector of Cologne.10

What music did these wind bands perform? Again refer-

ring to Jahn and his description of Kaiser Joseph's dinner

music one finds that "they at such times played operatic airs

arranged for the group as well as pieces especially composed for them."ll

Music originally composed for the wind bands, before

Mozart, as a rule did not reflect the composers' best efforts. "Themes are shorter; the development becomes an episode; the episode disappears; harmonies are simpler; instrumentation is

rudimentary; and intellectual effort is hardly necessary. tl2

Occasional wind pieces were written by most late eighteenth-

century composers, including the best known ones. Karl

Ditters von Dittersdorf (1739-1799) numbers among his works twenty-five partitas for winds, basically collections of dance 3 tunes.1 The Michael Haydn (1737-1806) catalogue lists

divertimenti for both winds and mixed groups.14 Michael's

100tto Jahn, W. A. Mozart, 2nd ed., 2 vols. (Leipzig, 1867), I, p. 195.

llIbid., p. 196.

1 2 Gibson, op. cit., pp. 168-69.

13Ibid., p. 55. l4 Reimund Hess, "Serenade, cassation, notturno und divertimento bei Michael Haydn," unpublished dissertation, Mainz, Germany, 196,Tpp7 . 161-68. 5

more famous brother, Joseph (1732-1809), composed hundreds of

small instrumental pieces, including many for wind groups.

Perhaps the best known is the Feldparthia containing the

setting of the St. Anthony Chorale later used by Johannes Brahms.

for his Variations, Op. 56. Recent study, however, has cast

doubt on the authenticity of these Feldparthien; they may in

fact have been composed by Ignaz Pleyel (1757-1831).15

Mozart composed some seventeen divertimenti for varying

combinations of wind instruments, but the culmination of his

wind music, perhaps of all wind music, occurs in the three

great wind serenades--K. 361, K. 375, and K. 388. With these

works, Mozart raised wind music to a level beyond that of

mere entertainment.

Judging fromeighteenth-century sources, it seems appar-

ent that arrangements from popular operas of the day were

often played by wind bands. Indeed, in a time when copy-

rights and royalties were not protected by law, composers

sought to market .their successful works in the form of piano

versions and wind or string arrangements as quickly as

possible in order to receive additional profits.

On July 20, 1782, Mozart wrote to his father about Die

Entfuhrung aus dem Serail:

. . . by Sunday week I have to arrange my opera for wind-instruments. If I don't, someone will anticipate me and secure the profits. . . . You have no idea how difficult it is to arrange a work

1 5 Geiringer, op. cit., p. 316. 6

of this kind for wind-instruments, so that it suits these instruments and yet loses noe of its effect.16

However, no wind arrangement by Mozart is known to exist.

Evidently, someone did anticipate his plans, probably Johann

Wendt. On January 15, 1787, Mozart wrote from Prague that at

a ball he attended "people flew about in sheer delight to the

music of my 'Figaro,' arranged for quadrilles and waltzes."1 7

As might be expected, many of the musicians responsible

for arrangements for the wind band were themselves performers

on a wind instrument. One of the better known arrangers was

Johann Wendt, born in 1745 in Bohemia. As an oboist, Wendt

first found employment in Prague in the service of the Duke

of Pachta. He later moved to Vienna, and in 1795 he assumed

the duties of second oboist in the court orchestra. Wendt's

arrangements include a wind version of fifteen numbers from

Mozart's Le Nozze di Figaro. Eight pieces from the same com- poser's Die Entfuhrung aus dem Serail are also attributed to

Wendt. The cheerful burlesque numbers are emphasized in the arrangements from Die Entfuhrung since they were intended purely for entertainment. Wendt died in Vienna in 1801. His arrangements had been so successful, they were even performed by Johann Triebensee, Wendt's competitor in this realm of

Viennese musical life.18

6 1 Anderson, op. cit., 1 7 p. 808. Ibid., p. 903. 8 1 Alfred Beaujean, record jacket notes for W. A. Mozart's Don Giovanni and Die EntfUhrung aus dem Serail, performed by the Netherlands Wind Ensemble, arranged for winds by J. Triebensee and J. Wendt (Philips 6500 783). 7

Johann Georg Triebensee, born in Silesia in 1746, was the son of a lieutenant in the state militia. Triebensee, like Wendt, was a professional oboist, first in Wittingau, then in Vienna where in 1777 he became one of the oboists at the national court theater. In 1782 he became a member of the

Imperial Court Chapel and was also responsible for wind band and Tafelmusik at the court of the Emperor Joseph II.

Triebensee was given the impressive title of "Director and

Teacher of the Royal Imperial Court Theater Wind Ensemble."

His talents were apparently better suited to skillful arranging rather than composing, for the various instrumental compositions he left behind at his death in 1813 are all rather undistinguished. 19

For a closer look at an actual operatic wind adaptation of the late eighteenth century, I have selected Johann Georg

Triebensee's wind arrangement of Mozart's Don Giovanni.

Triebensee arranged nineteen of the twenty-six arias and ensembles contained in the opera.20 This arrangement serves as proof of the great popularity of Don Giovanni, even though the first performance in Vienna in 1788 did not match the success of the premiere of 1787 in Prague. I am indebted to

Mr. Els van den Oever of the Netherlands Wind Ensemble for

1 9 Karl Maria Pisarowitz, "Johann Georg Triebensee," Die Musik in Geschichte und Gegenwart, 15 vols., edited by Friedrich Blume (Barenreiter Kassel, 1966), XIII, pp. 663-65.

2 0 Beaujean, op. cit. 8

kindly furnishing me with photocopies of that group's set of the manuscript parts and score of Triebensee's arrangement. Upon examination Triebensee's score reveals several important variances when compared to Mozart's score of the full opera. When hearing the arrangement performed, the first thing the listener notices is the most obvious: the absence of strings and of voices. Also, nearly all of the arranged sections are rewritten in a new key. Most of the numbers are shortened, the longer ones drastically so. Perhaps the simplest method of obtaining an overview of the arranging pro- cess is to isolate representative sections of the arrangement and compare them directly with Mozart's score. Appendix A shows the full score of the well-known duet for Don Giovanni and Zerlina from Act I, "La ci darem la mano." This duet presented the fewest possible problems to Triebensee, and therefore the re-orchestration is the least complicated. The first bassoonist assumes the vocal line of Don Giovanni while the first oboist takes the part of Zerlina. Although the duet is transposed up a minor third from the key of A major to that of C major in order to more easily suit the range of the oboe, this arrangement still maintains the qual- ities of a baritone voice alternating with a soprano voice as in Mozart's original score. The accompaniment to the solo lines is essentially a bass line filled in by harmonies on the off-beats, so Triebensee predictably assigns the bass part to the second bassoon with the second oboe and clarinets 9

discreetly completing the harmony of the original string parts.

The horns duplicate their original role of expanding the

cadence points. The woodwind eighth-notes at cadences are

assigned to pairs of oboes and clarinets while the bassoon is

soloist and to the second oboe, clarinets, and first bassoon

when the oboe assumes the lead. Since the entire duet follows

this pattern, only the first page is reproduced here as an illustration.

Appendix B, from the finale of Act I, shows more ingenu-

ity on the part of Triebensee. Included in this excerpt are

the three on-stage orchestras which play three dances in

different meters simultaneously while all the main characters

continue the intrigue of the plot by means of interjections

over the dance music. Here Triebensee has only eight instruments to cover what eventually becomes twelve separate parts with the entrance of Orchestra III. Clearly, only the essen- tials can be preserved.

At measure 406, the minuet proper begins, although bits and pieces of dance music have been heard earlier. The key has been changed from G major to F major in order to make mat- ters simpler for the clarinets, since the original score calls for clarinets pitched in C and the arrangement for instruments in Bb. At the beginning of the dance, the two clarinets assume the melodic roles of the two violin parts of Orchestra I. The horns duplicate for the most part their original parts, with the second bassoon playing the bass line. These 10

five instruments remain stable for the duration of the sec- tion, leaving the two oboes and first bassoon to handle what

seems at first to be an impossible task, the impending entrance of two or more dances performed by two more groups.

Actually, at the onset, the first bassoon is used in Orches-

tra I to cover the viola part until needed elsewhere. The two nonessential oboe parts are omitted in order to reserve the oboes for more important work later on.

In Mozart's score, the initial statement of the minuet is in binary form and consists of two eight-measure sections, each repeated. Triebensee avoids the repetition since the extra time afforded is not now needed for action and dialogue among the characters on stage. With the entrance of Orches- tra II, Mozart himself has deleted the repetitions, so

Triebensee is not required to make any more abbreviations.

The parts enclosed by brackets in Appendix Bare those re-scored in the wind arrangement.

Before Orchestra II enters playing a contradance, Mozart cleverly has it "tune up" on open strings. The only portion of this mock tune-up that is retained is the little trill of the violin which is taken by the second oboe in the measure marked by an asterisk (m. 425). In measure 438 the second 2 oboe enters with the second dance in a contrasting meter of 4.

At this point the first bassoon deserts the viola part in order to play a bass line to the contradance; the other instruments continue through the minuet again. When Orchestra III 11 begins its simulated warm-up, again only the violin trill is retained, this time played by the first oboe.

After the first oboe enters with an old-fashioned German 3 waltz in 8 at measure 454, all the instruments are being used.

The first bassoon leaves Orchestra II and establishes the bass accompaniment for the oboe's waltz. At measure 455, Mozart gives the horns of Orchestra I a triplet rhythm to fit with the waltz. Triebensee, however, with fewer instruments at his disposal, leaves the horns in their duple pattern in order not to have the waltz meter overshadow the other two. In measure

461, the bass part of the waltz rests, so the first bassoon again takes up the bass line of the contradance and stays there until after the horns sound an important call in triplets.

Two measures later the horns are once more in a duple rhythm, and the first bassoon reassumes the triplet pattern of the waltz. By moving the first bassoon back and forth between the waltz and contradance, Triebensee creates the illusion that all parts are being played. Mozart's dances never finish but lead abruptly to another scene; Triebensee merely adds two more measures in order to bring the dances to a logical

cadence and conclusion.

If Triebensee's arrangement does not entirely fulfill

Mozart's demand that none of the original effect shall be

lost, it nonetheless exhibits admirable skill in drawing from the small ensemble the best of its effect and color. The question of whether Mozart himself could have done any better 12 is not moot. In the finale to Act II of Don Giovanni, there is a wind ensemble at the banquet table playing operatic extracts from popular works of the day. The first piece the group plays is from the Act I finale of Vincente Martin y Solar's Una Cosa Rara. The second is the scoffing song, "Come un agnello," from I due Litiganti by Giuseppe Sarti. 21 The third and final tune played by the Harmonie is the popular "Non piu andrai" from Mozart's own Le Nozze di Figaro, which readily allows a comparison with the original version. These few measures have ensured the lasting remembrance of eighteenth-century operatic arrangements for wind band which might otherwise have been forgotten.

2 1Edward J. Dent, Mozart's Operas, 2nd ed., (London, 1947) p. 172. APPENDIX A

L'a ci darem la mano 14

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W. A. Mozart, Don Giovanni, edited by Georg Schunemann (New York, 1974) p.93* APPENDIX B

Finale, Act I 16

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Ibid., pp. 192-6. 17

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Books

Anderson, Emily. The Letters of Mozart and His Family, 2nd ed., 2 vols. New York: St. Martin's Press, 196T.

Brophy, Brigid. Mozart the Dramatist. London: Faber and Faber, 1964.

Burney, Charles. An Eighteenth-Century Musical Tour in Central Europe and the Netherlands (London, 1775T, ed. Percy A. Scholes. London: Oxford University Press, 1959.

Dent, Edward J. Mozart's Operas, 2nd ed. London: Osford University Press, 1947.

Fauchier-Magnan, Adrien. The Small German Courts in the Eighteenth Century, trans. Mervyn Savill. London: Methuen & Co., 1958.

Geiringer, Karl. Haydn: A Creative Life in Music, rev. ed. Berkeley: University of California Press, 1968.

Hoboken, A. Van. Joseph Haydn: Thematisch-bibliographisches Werkverzeichnis. Mainz: B. Schott's Sohne, 1957.

Hughes, Rosemary. Haydn, rev. ed. London: J. M. Dent & Sons, Ltd., 1970.

Hussey, Dyneley. Wolfgang Amade Mozart (1928). Freeport, New York: Books for Libraries Press, 1969.

Jahn, Otto. W. A. Mozart, 2nd ed., 2 vols. Leipzig: Breitkopf & Hartel, 1867.

Lang, Paul Henry, ed. The Creative World of Mozart. New York: Norton, 1963.

Niemetschek, Franz. Life of Mozart (1798), trans. Helen Mautner. London: Leonard Hyman, 1956.

Rowen, Ruth Halle. Early Chamber Music. New York: Columbia University Press, 949.

21 22

Article

Pisarowitz, Karl Maria. "Johann Georg Triebensee" Die Musik in Geschichte und Gegenwart, 15 vols., ed. Friedrich Blume. Barenreiter Kassel, 1966, XIII, 663-665.

Recordings

Mozart, W. A. Don Giovanni, performed by Sutherland, Lorengar, Horne, Bacquier, Krenn, Gramm, and the English Chamber Orchestra, conducted by Richard Bonynge. London OSA-1434.

Mozart, W. A. Selections from Don Giovanni and Die Entfuhrung aus dem Serail, arranged for winds by J. Triebensee and J. Wendt, performed by the Netherlands Wind Ensemble. Notes by Alfred Beaujean. Philips 6500 783.

Musical Scores

Mozart, W. A. Don Giovanni, ed. Georg Schunemann. New York: Dover Publications, 1974.

Mozart, W. A. Don Giovanni, arr. J. G. Triebensee. Unpublished manuscript.

Unpublished Dissertations

Gibson, 0. Lee. The Serenades and Divertimenti of Mozart. Unpublished dissertation, School of Music,~North Texas State University, Denton, Texas, 1960.

Hess, Reimund. Serenade, cassation, notturno und divertimento bei Michael Haydn. Unpublished dissertation. Mainz: 1963.