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(Eg Phd, Mphil, Dclinpsychol) at Th This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. • The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. • When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Theodor Lotz A Biographical and Organological Study Melanie Piddocke PhD The University of Edinburgh 2011 DECLARATION I hereby declare that this work is original and has not been previously submitted in whole or part by me or any other person for any qualification or award. I further certify that due acknowledgement is given to the sources of information and ideas derived from the original scholarship of others, and that to the best of my ability all scholarly conventions and proprieties have been observed in the use, citation and documentation of these sources. (Signed) (Date) 26/06/2012 Abstract This dissertation is a comprehensive study of the life and work of the Viennese woodwind instrument maker Theodor Lotz. Lotz is central to many of the most significant developments in woodwind instrument manufacture and compositions of late 18th century Vienna, and is associated with some of the greatest players and composers of the day. Despite this, no study has been undertaken into his life and many of his surviving instruments have not been studied. This study corrects this by examining both the biographical and organological aspects of this maker. In Chapter 1, the current knowledge of Lotz’s biography is examined for veracity. This has been achieved through consultation of archival sources such as birth and marriage registers and contemporary newspaper announcements. The biographies of the other significant Viennese makers have also been examined in order to determine their relationship to Lotz. Particular attention has been paid to those makers known to have associated with him. Chapter 2 is a comparative study of clarinets. The surviving clarinet by Lotz is the main focus, and it is compared to earlier Viennese instruments as well as other contemporary instruments in order to place Lotz’s instruments in context. Basset horns are the instruments for which Lotz is best known. Chapter 3 is a comparative study of the surviving basset horns, and includes instruments by Lotz which have not previously been studied. The comparative aspect of the study focuses most particularly on instruments by Doleisch, who also made significant numbers of basset horns in nearby Prague during Lotz’s lifetime. This chapter also includes a discussion on the basset clarinet. Chapter 4 studies Lotz’s work with bassoons and contrabassoons. As with Chapter 3, it includes a number of Lotz’s instruments which have not been studied before. It continues the comparative theme and examines not only Viennese instruments, but particularly those by August Grenser, whose bassoons are widely copied by modern makers. The attribution of the surviving flute by Lotz is examined in Chapter 5. Lotz’s involvement with the flute is examined through documentary evidence and the output of his students is examined in order to determine his level of influence on this instrument. Chapter 6 is a study of the two surviving oboe fragments by Lotz as well as the surviving cor anglais. As internal measurements have been impossible to obtain for many of these instruments, the comparative study has instead focussed on external aspects of decoration and design. The conclusion gives a summation of the evidence presented in the preceding chapters and is used to demonstrate Lotz’s unique contributions as an instrument maker and his impact on the future and design of woodwind instruments. iv Acknowledgements This research has been four years in the making and there are many people to whom I owe thanks for their assistance in the completion of this PhD. Foremost amongst these I must thank my supervisors, Dr. Darryl Martin and Professor Arnold Myers for their guidance and advice. None of the information presented in this dissertation would have been obtainable without the assistance and co-operation of every museum and archive I have visited in the course of my research. I offer a blanket thanks to all the collections I have visited for allowing me access to their instruments and records. Several curators and archivists have gone above and beyond their duties in order to assist me. Amongst these must be counted Herr Joachim Tepperberg of the Haus-, Hof- und Staatsarchiv in Vienna, who was tireless in his efforts to assist me in tracing documents relating to Lotz’s court appointment. The staff of the Stadtsarchiv Bremen were also of great assistance in my research of Tietzel, while assistance given so freely by Herr Heinz Unfricht of the archives in Kirchheim allowed me to discover Lotz’s place and date of birth. I am grateful to other archivists and curators, such as Dr. Frank Bär of the Germanisches Nationalmuseum Nuremberg, Jenny Parkerson of the National Library of Scotland (Maps Division), Benedikt Hager of the Institut für Musikwissenschaft Wien and Mag. Dr. Beatrix Darmstädter of the Kunsthistorisches Museum Vienna, whose contributions, however apparently small, came at just the right time and helped piece together a much larger puzzle. A number of the instruments I have examined are located in private collections around the world, and I am grateful to the owners of these instruments for allowing me access to their homes and collections. I am particularly grateful to Firmin Pirker in Vienna and Jiri Seidl in Prague, as well as other owners such as Rick Wilson who, although I was unable to visit, were willing to supply me with information regarding their instruments. I also owe particular thanks to Thomas Kiefer who not only informed me of a number of important instruments in private and public collections of which I was previously unaware, but also introduced me to the owners of instruments and facilitated my visits to their collections. Thomas has also been unstintingly generous in sharing information from his own research with me. Similarly generous with the fruits of his own labour has been Matthew Dart, who has offered valuable advice and insight which has been of great assistance in researching and writing about bassoons, but who has also unhesitatingly shared his own measurements of instruments which I have been unable to access. Robert Sebesta has also been extraordinarily generous in supplying me with documents he found in archives in Bratislava and Vienna, which have been absolutely crucial in building my research of Lotz’s life. I would also like to thank Albert Rice, who has shown unflagging interest and encouragement for my research. I owe a particular debt of gratitude to Sir Nicholas Shackleton, whose generous bequest of his unparalleled collection to the Edinburgh University Collection of Historic Musical Instruments in 2006 has not only greatly facilitated my research in providing me with such an unmatched resource on my own doorstep, but has also provided me with a means to contribute towards my own support and further my interest and knowledge in caring for musical instruments. ix Thanks are also due to my friends who have all shared the little victories and frustrations that have been part of this research. Especial thanks to Ernst Schlader and Markus Springer, not only for their friendship but also for their willing assistance with translating difficult passages from 18th century German manuscripts and the many interesting discussions on topics relating to woodwind instruments of the 18th century, during which they openly shared their extensive knowledge of the subject. Sarah Deters Richardson and Jonathan Santa Maria have also been wonderful friends and colleagues who have cheered me along and been particularly supportive for the last stretch. Joanne Shillington has not only provided me with employment which has enabled me to fund my research, as well as the flexibility to undertake research trips, but has also become a friend along the way. Although too numerous to name here, I would also like to thank the many colleagues and friends in orchestras who have patiently spent their rehearsal breaks with me as I closely examined their instruments and questioned them endlessly about makers, tutors, and instrument design. Finally, none of this would have even been possible without my family – my parents Margaret and Stewart, my brother Toby, and sister-in-law Rebecca. They have always unreservedly and wholeheartedly supported all of my endeavours, not only financially and emotionally, but in many ways it is impossible to define. I hope this research is in some way a justification of their faith in me. x Table of Contents Acknowledgements ......................................................................................... viii Terminology and Conventions ...................................................................... xi General Abbreviations ...........................................................................
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