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A Performer's Guide to Hertl's Concerto for Double Bass

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A Performer's Guide to Hertl's Concerto for Double Bass A Performer's Guide To Frantisek Hertl's Concerto for Double Bass Item Type text; Electronic Dissertation Authors Roederer, Jason Kyle Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 06/10/2021 15:16:02 Link to Item http://hdl.handle.net/10150/194487 A PERFORMER’S GUIDE TO HERTL’S CONCERTO FOR DOUBLE BASS by Jason Kyle Roederer ________________________ Copyright © Jason Kyle Roederer 2009 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2009 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Jason Kyle Roederer entitled A Performer’s Guide to Hertl’s Concerto for Double Bass and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts _______________________________________________________Date: April 17, 2009 Patrick Neher _______________________________________________________Date: April 17, 2009 Mark Rush _______________________________________________________Date: April 17, 2009 Thomas Patterson Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. ________________________________________________ Date: April 17, 2009 Document Director: Patrick Neher 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this document are allowable without special permission, provided that accurate acknowledgment of the sources is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: Jason Kyle Roederer 4 ACKNOWLEGEMENTS The author would like to thank the entire committee for the guidance and encouragement that has been invaluable to this project. The author is especially grateful for the mentorship of Patrick Neher throughout all stages of this document. 5 TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES ..................................................................................6 ABSTRACT....................................................................................................................8 1. INTRODUCTION.......................................................................................................9 2. HISTORY AND TRADITIONAL PERFORMANCE APPROACH..........................10 3. A SHORT BIOGRAPHY ..........................................................................................13 4. STYLISTIC ASPECTS OF HERTL’S CONCERTO FOR DOUBLE BASS ............... 17 Neo-Romantic Elements in the First Movement....................................................19 Neo-Romantic Elements in the Second Movement................................................ 27 Neo-Romantic Elements in the Third Movement .................................................. 35 5. INTERPRETIVE ANALYSIS................................................................................... 40 Movement One..................................................................................................... 40 Fingering Analysis.......................................................................................40 Bowing ........................................................................................................45 Melody and Interpretation............................................................................46 Movement Two ....................................................................................................47 Positioning and Bowing ............................................................................... 47 Movement Three ..................................................................................................51 Fingering Analysis.......................................................................................51 Rhythmic Fingering .....................................................................................53 Bowing and Phrasing ................................................................................... 54 6. CONCLUSION.........................................................................................................57 APPENDIX A PERMISSION BY SCHOTT PUBLISHING… ..................................... 58 APPENDIX B FORWORD AND KEY TO THE CONCERTO FOR DOUBLE BASS BY FRANTISEK HERTL, EDITED BY JASON ROEDERER ............................................... 59 APPENDIX C CONCERTO FOR DOUBLE BASS BY FRANTISEK HERTL, EDITED BY JASON ROEDERER...................................................................................................... 60 REFERENCES.............................................................................................................. 69 6 LIST OF MUSICAL EXAMPLES Example Page 4-1. Frantisek Hertl, Concerto for Double Bass, 1st Movement (mm. 1-4).................. 19 4-2. (mm. 11-12) .......................................................................................................20 4-3. (mm. 14-15) .......................................................................................................21 4-4. (mm. Gotterdammerung piano score (mm. 706-708) ..........................................22 4-5. Stylistic Organization of Introduction.................................................................23 4-6. (mm. 15-22) .......................................................................................................24 4-7. (mm. 20-22) .......................................................................................................25 4-8. (mm. 33-34) .......................................................................................................26 4-9. Thematic Organization of 1st Movement............................................................ 27 4-10. 2nd Movement (mm. 1-38) ................................................................................. 28 4-11. (mm. 43-57) ................................................................................................. 29,30 4-12. (mm. 90-92) ...................................................................................................... 31 4-13. (mm. 94-98) ...................................................................................................... 32 4-14. (mm. 122-132)...................................................................................................33 4-15. Orchestration, Phrasing and Harmonic Organization of 2nd Movement .............. 34 4-16. 3rd Movement (mm. 1-11).................................................................................. 36 4-17. (mm. 6-9, sub-section a) (mm. 31-33, sub-section a1) (mm.60- 62, sub-section a2) .......................................................................................36 4-18. (mm. 71-75) .......................................................................................................37 4-19. Form and Key Organization of 3rd Movement....................................................38 5-1. Frantisek Hertl, Concerto for Double Bass, 1st Movement (mm. 15-22).............. 40 7 LIST OF MUSIACAL EXAMPLES - Continued 5-2. (mm. 15-16) .......................................................................................................41 5-3. (mm. 15-16) .......................................................................................................42 5-4. (mm. 16-17) .......................................................................................................42 5-5. (mm. 16-17) .......................................................................................................43 5-6. (mm. 22-26) .......................................................................................................44 5-7. (mm. 22-26) .......................................................................................................45 5-8. (mm.15) .............................................................................................................46 5-9. (mm. 34-39) .......................................................................................................46 5-10. (mm. 34-39) .......................................................................................................47 5-11. Hertl, Concerto for Double Bass, 2nd Movement (mm. 44 -76) ........................... 48 5-12. (mm. 59-63) .......................................................................................................49 5-13. Rabbath, Le Nouvelle Technique 3rd vl. (pg. 42).................................................. 50 5-14. (mm. 44-76) .......................................................................................................51 5-15. Hertl, Concerto for Double Bass 3rd movement (mm. 53-58).............................
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