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University Microrilms International O H L S S O N , E Ric Pa U L INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1.TIie sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages, ihis ntay have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. 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Requests can be made to our Dissertations Customer Services Department. 5. Some pages in any document may have indistinct print. In all cases we have filmed the best available copy. University Microrilms International O h l s s o n , E ric Pa u l THE QUINTETS FOR PIANO, OBOE, CLARINET, HORN AND BASSOON BY WOLFGANG AMADEUS MOZART AND LUDWIG VAN BEETHOVEN The Ohio State University D.I» University Microfilms Internetionâi 3 0 0 N. Zeeb Road, Ann Arbor, MI 48106 Copyright 1980 by Ohlsson, Eric Paul Ail Rights Reserved THE QUINTETS FOR PIANO, OBOE, CLARINET, HORN AND BASSOON BY WOLFGANG AMADEUS MOZART AND LUDWIG VAN BEETHOVEN DOCTORAL DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of the Ohio State University By Eric Paul Ohlsson, B.M.Ed., M.M, The Ohio State University 1980 Reading Committee: Approved By William Baker Peter Gano Robert Titus __ School of Music ACKNOWLEDGMENTS I would like to express ray thanks to to Dr. Robert A. Titus, Mr. William P. Baker, and Dr. Peter W. Gano for their help in this project. I would also like to acknow­ ledge the valuable assistance of Dr. Thomas Heck, Music Librarian of the Ohio State University. September 30, 1952. Hastings, Nebraska 1974.............. B.M. Ed., James Madison University, Harrisonburg, Virginia 1974-1976 ........ Teaching Associate, School of Music, The Ohio State University, Columbus, Ohio 1976.............. M.M., The Ohio State Univer­ sity, Columbus, Ohio 1976-1980 ........ Part-time Instructor, Music Department, Denison Univer­ sity, Granville, Ohio 1978-1980 ........ Lecturer, Music Department, Otterbein College 1978-1980 ........ Principal Oboe, The Columbus Symphony Orchestra, Columbus, Ohio 1980.............. Assistant Professor, Music Department, University of South Carolina, Columbia, South Carolina FIELDS OF STUDY Major Field: Music Performance Studies in Oboe. Professor William P. Baker Studies in Music Literature. Professor Robert A. Titus Studies in Music History. Dr. Peter W. Gano and Dr. Herbert Livingston PERFORMANCES Graduating Recital Series Thursday, January 13, 1977, 8:00 p.m. Hughes Auditorium Program Eric P. Ohlsson, oboe Ruey Rodman, piano This recital is presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts Sonata #2 in g minor............................ G. F. HANDEL Larghetto Allegro Adagio A13.egro Six Metamorphoses after Ovid, Op. 49 ..BENJAMIN BRITTEN (In memoriam 19.' 3-1976) Intermission Suite Française................................ MARCEL BITSCH (.1 9 6 4 ) Sonata for Oboe and Piano................. Francis Poulenc Elégie (1962) Scherzo Déploration Graduating Recital Series Sunday, April 30, 1978, 3:00 p.m. Mershon Auditorium Eric P. Ohlsson, oboe The Ohio State University Symphony Orchestra Marshall Haddock, conductor This concerto is presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts Program Symphony No. 1 ............................... William Boyce Allegro Moderate e dolce Allegro Appalachian Spring................................. Copland Intermission Oboe Concerto, K. 314............................... Mozart Allegro Aperto Adagio Rondo Graduating Recital Series Tuesday, January 15, 1980, 8:00 p.m. Hughes Hall Eric P. Ohlsson, oboe Paul Dorgan, piano Assisted by: William Baker, oboe Monica Umstaedt, harpsichord Robert Cochran, bassoon This recital is presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts Program Arioso j. H. Fiocco Sonata (1938)............................... Paul Hindemith Munter Sehrlangsam-Lebhaft Intermission Sonatain A minor G. P. Telemann Largo Vivace Affettuoso Allegro Sonate, Op. 166......................... Camille Saint-Saëns Andantino Allegretto Molto Allegro Graduating Recital Series Saturday, May 10, 1980, 8:00 p.m. Hughes Hall Auditorium Eric P. Ohlsson, oboe Assisted by: Monica Umstaedt, harpsichord Kent Larmee, horn Susan Miller, flute Robert Cochran, bassoon Julie Wells, oboe Allison Clark, bassoon William Baker, English horn Kay Stern, violin Paul Bambach, clarinet David Marschall, viola Nancy Coffey, clarinet Rebecca Evans, violoncello Susan Rankin, horn This recital is presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts Trio Sonata in C minor................Johann Joachim Quantz Largo Allegro Andante Vivace Variations on the Theme "La ci darem la mano".... Beethoven Intermission Phantasy for Oboe and Strings, Op. 2...... Benjamin Britten Serenade No. 12 in C minor, K. 388..Wolfgang Amadeus Mozart Allegro Craig Kirchhoff, Conductor Andante Menuet Allegro TABLE OF CONTENTS ACKNOWLEDGMENTS............................. ii VITA ....................................... iii INTRODUCTION ............................... 1 Chapter I. THE HISTORY OF THE INSTRUMENTAL COMBI­ NATION: PIANO, OBOE, CLARINET, HORN, AND B A SSOON...................... 3 II. MOZART'S QUINTET.................... 12 III. BEETHOVEN'S QUINTET ................ 22 IV. THE TWO-SIDED COIN.................. 34 V. CONCLUSION.......................... 44 APPENDIXES A. The Analyses........................ 46 B. Discography........................ 119 BIBLIOGRAPHY ............................... 121 INTRODUCTION The purpose of this document is to present a study of the Mozart Quintet in E-flat, K. 452, and the Beethoven Quintet in E-flat, Opus 16. These works have in common an infrequently used instrumental combination, namely piano, oboe, clarinet, horn, and bassoon. It is the author's intent to provide the reader with a concise resource for the study of these invaluable works through an accumulation and synthesis of information. The first area of consideration is the origin and history of this uncommon instrumental combination and its logical influence on the evolution of chamber combinations. In the course of the examination of each piano quintet,^ certain information comes to light, such as how the instru­ mentation was derived; and the details of their earliest performances. Some comparisons are drawn between the two works, but of more importance is the consideration of will refer to the instrumentation of piano, oboe, clarinet, horn, and bassoon. Quintets cited in the document which differ in their instrumentation will be fully identified— i^. e. , piano quintet : two violins, viola, cello, and piano. 2 each quintet as it relates to other works by its respective composer. Numerous sources contribute to the historical per­ spective of the idiom in question. The most significant listing of piano quintets is in the Library of Congress, found under shelflist class M517 (Quintets for Piano and four Wind Instruments), specifically the subject heading "Quintets (oboe, clarinet, horn, bassoon, piano)." Resource material includes information found through the Music Index, the National Union Catalogs, and the Catalogue of the British Museum, as well as the holdings of The Ohio State University Libraries, beginning with thematic catalog citations and source information. Included as appendices to this document are a complete discography and harmonic analyses of the two piano quin­ tets . THE HISTORY OF THE INSTRUMENTAL COMBINATION: PIANO, OBOE, CLARINET, HORN, AND BASSOON It will be helpful, when considering the beginnings of the piano quintet, to understand the formation process of the classical style and the solidification of the sonata principle. Between the years 1755 and 1775 there was a period of experimentation which produced the mature classi­ cal style, in which the sonata concept was the main element.^ During this twenty-year period there was a definite lack of compositional solidarity: much of the baroque style was abandoned at a time when the musical characteristics of the next era had not yet been completely developed or understood. By the time
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