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. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete i copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame.

3. When a map, drawing or chart, etc., is part of the material being photo­ graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete.

4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy. 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 of Mozart's death, chamber and symphonic works had taken distinct forms.

The earliest piano quintets were composed within the last

two decades of the eighteenth century. One can only speculate

as to the reasons for the initial appearance of this combina­

tion. Logical correlations can be made between the piano

quintet and earlier instrumental forms, specifically the

trio sonata and the concerto grosso. The trio sonata may be

^Charles Rosen, The Classical Style (New York: W. W. Norton, 1972), 44. considered an antecedent of the quintet because of its use of keyboard and winds in an intimate setting. This is a major form of the Baroque, having four movements contrasting in tempo, and the literature, that of G, P. Telemann (1681-

1767) for example, indicates that both strings and winds were used as melody and continuo instruments. The trio sonata characteristics form the basis for chamber music pieces of larger proportions. The Baroque quartet with its continuo part very likely supplied the sound ideal found in most keyboard chamber music of the earlier portion of the

Classical era. All that remained was the development of writing for independent instrumental lines, such as is seen by the growth of the string quartet in early Haydn.

Writing independent lines for winds in solo situations did occur in the Baroque concerto grosso. In the numerous

concerti grosso of Vivaldi, for example, the concertino lines

are quite expressive, particularly in the slow movement.

Traits of these important Italianate works can be found in

the early concertante-type works of J. C. Bach, whose works

were influential on the young Mozart.

These genre belong v/ithin the Baroque style, of course,

but the antecedents of the piano quintet become more obvious

and plentiful as we examine the classical style of Mozart 5 himself. As Brigitte and Jean Massin write, "Chamber music and wind serenades, piano concertos, sinfonie concertantes: these three converge in the harmonious synthesis of the

(piano) quintet. The work whose instrumentation is most closely related to the piano quintet is the Sinfonie Concer­ tante in E-flat, K. 297b. This particular work calls for oboe, clarinet, horn, and bassoon soloists, the same four winds found in the piano quintet. As will be amplified

in Chapter II, K. 297b is, more than any other work, the

direct ancestor of the quintet, where the piano recalls the

dialog and support of the orchestra.

In certain of his piano concertos, Mozart placed solo

responsibility upon wind instruments ; the interplay between piano and winds is reminiscent of the quintet. Chapter II

contains further discussion on the stylistic connection

between the concertos and the quintet. In one specific

concerto, K. 449, Mozart wished the pianist, Barbara Ployer,

to be able to play the work with orchestral accompaniment

in a chamber situation, so there is a small number of winds.

However, the winds he does use are very important in contri-

Jean and Brigitte Massin, Wolfgang Amadeus Mozart (Fayard, 1970), 963. All Massin references are trans­ lated from the original French by the author.

^Alfred Einstein, Mozart; His Life, His Character, His Work (New York: Oxford University Press), 300. The divertimentos and serenades were written for a variety of instrumental combinations, but most frequently for some combination of pairs of oboes, clarinets, horns, and bassoons: the same instruments used in the piano quintet.

The following list of Mozart's divertimenti and serenades

for woodwinds and horns leads one to the conclusion that

Mozart had considerable experience in writing for the four wind instruments used in K. 452.

DIVERTIMENTI

K. 166 in E-flat 2 oboes, 2 English horns, 2 clarinets, 2 bassoons, 2 horns K. 186 in B-flat the same X.A.226 in E-flat 2 oboes, 2 clarinets, 2 bassoons, 2 horns K.A.227 in B-flat the same K. 213 in F 2 oboes, 2 horns, 2 bassoons K. 240 in B-flat the same K. 252 in E-flat the same K. 253 in F the same K. 270 in B-flat the same K. 289 in E-flat the same K. 439b (five divertimenti) 2 clarinets and bassoon

SERENADES

K. 361 in B-flat 2 oboes, 2 clarinets, 2 basset horns, 2 bassoons, contrabassoon, 4 horns K. 375 in E-flat 2 oboes, 2 clarinets, 2 horns, 2 bassoons K. 388 in C minor the same

The connection between the piano quintet and the diverti­

mentos and serenades is apparent (although the former uses one

of each instrument, and the latter makes use of winds scored

in pairs) if only through the familiarity which Mozart had

with each of the instruments, and the frequency with which

he wrote for them. '7

The last two serenades, K. 375 and K. 388, demonstrate

Mozart's maturity through expressive and dramatic writing for this particular combination of instruments. This maturity progresses further in the writing of the quintet,

K. 452.^ Also, in the serenades for winds, use is made of all the instruments in a solo capacity, as in the quintet.

Significant is the fact that the serenade and the diverti­ mento accustomed listeners to music without basso continuo.^

Tovey states that Mozart did not need a forerunner in order to compose for any given combination of instruments.

He discusses Mozart's ability to write for unique combina­ tions of instruments:

It seems strange that writers on musical aesthetics have not studied the extraordi­ nary number of works for strange and unpromis­ ing combinations that Mozart has left us. No other composer has given half as many oppor­ tunities of seeing revealed by strange con­ ditions the art which is so thoroughly con­ cealed by genius. Among such works are Divertimenti for tv;o flutes, five trumpets, and four drums ; ... a very graceful and en­ joyable Concerto for flute and harp;... several pieces for a musical clock;....But none of these extraordinary works is so large and important as this quintet.^

That this quintet is an unusual combination of instru­

ments is supported by the brevity of a complete list of

works published, found in such places as the Library of

Massin, 962-63. 7 Donald Jay Grout, A History of Western Music (New York: W. W. Norton, 1973), 426.

^D. F. Tovey, Essays in Musical Analysis : Chamber Music (London: Oxford University Press, 1972), 108-09. Congress and the Catalogue of the British Museum. In­ cluded in the Library of Congress listing under "quintets

(oboe, clarinet, horn, bassoon, piano)" is a work by Ignaz

Pleyel (1757-1831), the Quintet in C major, published by

Musica Kara in 1969. The existence of this work has raised some doubt as to the correctness of the assumption that Mozart's quintet was the first of its kind, since

Pleyel v/as contemporary with MOzart and was also composing during the 1780's. Consulting with a librarian at the

Library of Congress reveals that the work by Pleyel is a transcription of a quartet for piano and strings. It is still interesting that he took enough interest in the piano-wind combination to make this transcription.

There is no evidence in pertinent lists consulted by the writer that any quintet for piano and winds was writ­ ten before K. 452. As Mozart seems to have been first to write for this combination of piano quintet, he served as the initial inspiration to those writing works of this type after him. There has been a remarkably steady, though

small, output of piano quintets from Mozart's time to the present. Below is a list of the quintets in chronological

order. Works that cannot be dated exactly, because of a

lack of information, appear in the chronology according

to their dates of publication or the composer's lifespan. Mozart, Wolfgang Amadeus. Quintettin E-flat major, K. 452. Completed 1784. Published 1801.

Beethoven, Ludwig van. Quintett in E-flat major, Op. 16. Completed 1797. Published 1805.

Danzi, Franz. Quintet in D minor, Op. 41. Published 1961. (Dates are 1763-1826).

Rice, N. H. Quintet, Op. 2. Published 1808.

Grund, F. W. Quintett in E-flat major. Op. 8. Published 1818.

Lannoy, Heinrich Eduard Josef von. Quintetto in E-flat major. Op. 2. Published 1822 or 1823.

Pauer,, Ernst. Quintuor, Op. 44. Published 1856,

Verhey, Theodor N. II. Quintett, Op. 20. Published c 1881.

Stephen, David. Quintet in D minor, Op. 3. Pub­ lished 1897. (Prize work, Glascow Society of Musicians Competition, 1896-97.)

Herzogenberg, Heinrich von. Quintett, Op. 43, Published 1906. (This work was written before 1900; his dates are 1843-1900.)

Volbach, Fritz. Quintett in E-flat major. Pub­ lished 1902.

Thieriot, Ferdinand. Quintett in A minor. Op. 80. Published 1903.

Gieseking, Walter. Quintett in B-flat major. Pub­ lished 1922.

Rawsthorne, Alan. Quintet, Published 1964. (Commissioned by B.B.C. in 1963.)

Lees, Benjamin. Three Variables. Published 1964.

Maw, Nicholas. Chamber Music. Published 1964.

Voorn, Joop. Kwintet: Preludium en Fuga. Pub­ lished 1976.

Bank, Jacques. Five. Published 1977.

Berkeley, Lennox, Sir. Quintet, Op. 90. Published 1977. The most significant descendant of the piano quintet is probably the woodwind quintet: flute, oboe, clarinet, horn,

and bassoon.^ Giovanni Giuseppe Cambini (1746-1825) was the

first to write for the woodwind quintet.Since Cambini

was somewhat acquainted with Mozart's wind music, and was himself a composer of sinfonia concertantes, there is a pos­

sible correlation between Mozart's woodwind music and

Cambini's development of the woodwind quintet. Josef Marx

speaks of Cambini's quintets:

Entitled "Quintetti Concertants", they were first published between 1797 and 1799. Sig­ nificant predecessors to such a choice of instruments were Mozart's Quintet K. 452 of 1784....which, however, was not circulated in published form until 1800, and Rosetti's Quintet for flute, oboe, English horn, clari­ net, and bassoon (Edition Kneusslin, Basle 1961) of before 1792. Cambini's three wood­ wind quintets precede Reicha's famous twenty- four by almost twenty years.... It has been noted that Reicha never once mentions the pre­ existence of Cambini's quintets although :<.t seems hardly likely that he could have been unaware of their being....What strikes us as unusual in these quintets is that, unlike Reicha, Cambini never separates the five in­ struments, creating therewith a uniformity of texture which gives them a color all their own. As performable and listenable chamber-music, these qunitets stand up well next to those of Reicha and Danzi.

The piano sextet (piano with woodwind quintet) probably resulted from the combination of the media of woodwind quintet and piano quintet.

^^Josef Marx, Preface to Cambini Quintet No. 3 (New York: McGinnis and Marx, 196 3), 1. (This fact was disputed and later proven to be true— see other prefaces to Marx's edi­ tions of the Cambini quintets.) 11 12 Grout, 425. Marx, 1. 11 It is significant to note that since the time of Cam­ bini' s woodwind quintets the instrumental combination of flute, oboe, clarinet, horn and bassoon has accumulated a significant repertoire. The total output of piano quintets has remained small, and has not prospered significantly since the time of their inception.

Taking into consideration the use of winds in a variety of combinations, both in Baroque chamber and orchestra music, and in classical concertantes, divertimentos and serenades, Mozart's use of this particular combination is quite logical.

Having considered these origins and influences, the next step is to examine Mozart's quintet and the most sig­ nificant of those few efforts in this genre to follow;

Beethoven's Quintet in E-flat, Op. 16. CHAPTER II

MOZART'S QUINTET

The first performance of the just completed Quintet in E-flat, K. 452, took place on Thursday, April 1, 1784, and a notice of the concert from the "Wienerblattchen" of

April 1, 1784, reads as follows:

Today, Thursday, 1 April, Herr Kappelmeister Mozart v/ill have the honour to hold a great musical concert for his benefit at the I. & R. National Court Theatre (Vienna). The pieces to occur in it are the following: 1) A grand Symphony with trumpets and drums. 2) An aria, ....3) Herr Mozart....will play an entirely new Concerto on the Fortepiano. 4) A quite new grand Symphony. 5) An aria.... 6) Herr Mozart....will play an entirely new grand Quintet. 7) An aria,.... 8) Herr Kappell- meister Mozart will improvise entirely alone on t^i Fortepiano. 9) To conclude, a Symphony

Deutsch provides commentary on the notice. He says that there were probably only two symphonies on the program, item #4, the Linz (K. 425), and the Haffner Symphony

(K. 385), possibly item #1 or item #9. Item #3 was one of his two new piano concertos, K. 450 or 451, and item

#6 was the quintet, K.452.^^

^^Otto Deutsch; Mozart: A Documentary Biography (Stanford, California: University Press, 1965), 223. 14 Ibid. Deutsch suggests that #1 was probably the first part of the Haffner Symphony, and #9 was the conclu­ sion of the same symphony. 15 Ibid. 13

The concert was highly successful, as Mozart relates to

his father in a letter dated June 10, 1784: "I composed two

grand concertos (K. 450 and 451) and then a quintet (K. 452), which called forth the very greatest applause; I myself

consider it to be the best work I have ever composed ... and

how beautifully it was played ... it is greatly to my credit

that my listeners never got tired.Without a doubt, Mozart

had at his disposal the best players available to play the

wind parts of the quintet.

Deutsch tells of another early performance of the quintet

in Vienna:

On 13 June^^ a private concert took place at Herr Ployer's lodgings in the suburb of Dobling, in the presence of Paisiello. Ployer's daughter Barbara played the D major sonata for two piano­ fortes (K. 448) with Mozart, who then took part in the E-flat major quintet for piano and wind (K. 452); and Barbara Ployer finally played the G major pianoforte concerto (K. 453)....His (Ployer's) musically gifted daughter Barbara was a pupil of Mozart's, who had written the concerto in E-flat (K. 449)....and the G major concerto ., for her.

Unfortunately, there is no record of the identity of the

players of the first performance of the quintet, K. 452,

aside from Mozart. It is quite probable that Anton Stadler (1753-1812) was the clarinetist in the ensemble. Stadler

is well known as the clarinetist for whom Mozart wrote the

^^Emily Anderson, The Letters of Mozart and His Family (London; Macmillan, 1962), 1302.

Einsx-c... Mozart 303. (Einstein dates this perfor­ mance incorrectly as June 10.)

^^Deutsch, 225. 14

Quintet for Clarinet and Strings, K. 581, and the Concerto for Clarinet and Orchestra, K. 622. Stadler was living in

Vienna by the early 1780's and in 17 87 was appointed to the

National Theatre of Vienna.Deutsch's quotation from the "Wienerblattchen" of March 23, 1784, proves that

Stadler was not only in Vienna, but playing Mozart's music in a concert for Stadler's own benefit at the same theatre in which Mozart's Quintet was first performed eight days later.The other wind players in the premier perfor­ mance of K. 452 may have also taken part in this earlier concert with Stadler.

The Quintet, K. 4 52, was written during a period of

Mozart's life in which he wrote piano concertos or works with piano almost exclusively. Between February 9 and

April 12 of 1784, he wrote four such concertos : E-flat,

K. 449 (February 9), B-flat, K. 450 (March 15), D major,

K. 451 (March 22), and G major, K. 453 (April 12). He

composed eight more piano concertos by December of 1786 and

established himself as a true genius of the genre.

Aside from the abundance of concerti, one must be some­

what awed by the consistently superior level of composition

19 Ernst Hess, "Anton Stadler." Die Musik in Geschicte und Gegenwart 14 vols., ed. Friedrich Blume (Kassel: Barenreiter, 1949-68), XII, 1119.

^*^Deutsch, 223. 21 C. M. Girdlestone, Mozart and His Piano Concertos (Norman, Oklahoma: University of Oklahoma Press, 1952), ]74. of all the works of 1784:

Other years will know a more abundant flowering; 1784 is the one in which he composed the great­ est number of first-rate works, , Between February and May and between September and December in this year, six concertos, two sonatas, a quartet and a quintet followed close one upon the other— all of them authentic masterpieces.22

Girdlestone also writes about the quintet's style, modeled after the concerto and the serenade:

This work, whose inspiration is close to that of many other of his E-flat compositions, has also the self-assurance and grace of the con­ certo in B-flat, K. 450; it is a piece of "society music", written "half for his public, half for himself", and in a composite style related to the concertos its contemporaries in its piano part and, in its wind writing, to the great serenades of earlier years. As a whole, it has a concertante character: the protagonists come to the fore each one in turn and pass their themes from one to the other....The presence of a theme from K. 450 in its first movement and, in the rondo, of an obbligata cadenza in which everyone takes part shows how near the work is to the concer­ tos ... Even when he composes chamber music, he still thinks in terms of his favourite genre.

In the following excerpts (Example 1), note the thematic

similarity between K. 450 and K. 452. 16

Example 1, a) thematic fragment, K. 450, first movement, measure 104.

I ..:

Example 1, b) thematic fragment, K. 452, first movement, measure 43.

Massin's observations, cited in Chapter I, include

fascinating parallels between the quintet and the Sinfonie

Concertante, K. 297b. The latter was written in 1778 in

Paris and more than any other earlier work inspired the

quintet's detail, mood, and drama. Indeed, the heritage

of serenades, concerti, and the sinfonie concertante make

one understand why Mozart felt satisfied with the quintet.

In the quintet, the piano is called to establish, with the

four wind soloists, a rapport analogous to that which the

orchestra establishes in the genre of the sinfonie concer­

tante. If one is sensitive to the optimism and hope of the 17 music, one will know even more the affinity between the two works. Further, one may measure the development of profundity and the perfection of the Mozartian art in terms of the six years separating the two compositions. "With the quintet we find ourselves facing the most advanced, the most 'classical' Mozart.

The violin sonata, K. 454, is the first chamber work written after the quintet. Like the quintet, the sonata's style shows its proximity to the concertos. Girdlestone observesas the work was written for a violinist the fiddle part is the equal of the piano. There is no longer any trace here of the piano sonata with violin accompani­ ment ...."

The key of E-flat is used many times by Mozart in his works for winds, in addition to the piano quintet— the

Sinfonie Concertante, nearly half of the wind and horn divertimenti, the E-flat Serenade (K. 375), and the Kegel- statt Trio (K. 498). The C-minor Serenade could also be considered in the group, as it is in the relative minor tonality. Girdlestone says that indeed E-flat was used most often by many composers of the eighteenth century.

The ease with which the technically limited horn could play in this key led Mozart to set many works in the

^“^Massin, 963. to n a l i t y . G i r d l e s t o n e reflects further:

There remain some fifteen E-flat works which make up a spiritual family and thanks to them we can determine the features which seem to accompany the key in his allegros and finales ... Generally speaking, E-flat is, for Mozart as for all the galant period, the key of grace and happiness.28

Mozart's use of the key of E-flat is also traditionally symbolic of his connection with the Masonic order. However, works with known Masonic ties were written later in his life.29

The formal scheme of the last movement of the quintet is somewhat unusual. In the sonata rondo plan, Mozart completely leaves out the return of the first subject, states only eight bars of the return of the second subject, and then inserts a long cadenza in tempo before the counter­ statement of the second subject is completed. This omission of the first subject makes its eventual return after the cadenza a much stronger statement. The same device is used in other works of Mozart.

It will be remembered that Mozart wrote that the piano quintet was the best piece he had ever written. This judgement must be seen as limited to works he composed up to April of 1784, but he must have had specific reasons for

^^Girdlestone, 365.

^^Ibid., 366-67.

^°Ibid., 366. 19 having such a strong opinion. The most striking demonstra­

tion of the work of a genius is the way in which Mozart over­

came the difficulties of writing for a small group of wind

instruments and piano. Ferguson explains how Mozart was

able to solve the problems inherent in the combination:

Since the voice of any wind instrument is more distinctive and less variable than that of a stringed instrument, the kind of phrase— and consequently the kind of theme— that will sound well on an oboe or a clarinet may be quite un­ fit for a horn or a bassoon. Moreover, the combination of these "voices", either with each other or with the piano, is tonally much more precarious than the combination of piano and strings. Thus the range of the composer's thematic invention and likewise his whole process of development are much restricted; for while he may easily invent brilliant or characteristic figures for each of the instru­ ments, these figures may be quite unsuited for combination and wholly incompatible with the structural design of a movement or with its expressive character.32

The character of K. 452's instrumentation is quite charm­

ing, indeed. Even though the clarinet and oboe lead more

frequently, the bassoon and horn are not subordinated, just

as the wind group is not of lesser importance than the piano.

It seems as though a perfect interplay between the piano and

winds has been reached. As will be discussed later, Beethoven

treated the piano-wind relationship rather differently in his Op. 16 quintet.

^^Donald N. Ferguson, Image and Structure in Chamber Music (Minneapolis: University of Minnesota Press, 1964) , 57. ^^Ibid. 20

Advances in the originality of instrumentation may be observed also in the introduction of the piano concerto in

B-flat, K. 450, a work which closely precedes the quintet.

Rosen maintains that this concerto is the first to use the winds to their full potential of coloristic and dramatic

If one reached this concerto after having run through the ten preceding ones and without knowing those that follow, one would be sur­ prised in its very first bars by its originality .... [ofJ orchestration. Nothing like it had occurred hitherto in any of Mozart's concertos. Anyone who heard the beginning of this movement without knowing it was a concerto ... might think it was a concertante serenade for strings and woodwind.... Such an introduction is indeed quite new in Mozart.35

The style of Mozart was reaching greater maturity around

the time of K. 452. A contributing factor to this newer

style is a more significant use of winds in all genres of

composition.

That there is no other work in this genre by Mozart is

difficult to understand. The success of the work and the

composer's own opinion of it lead to the conclusion that

^^Girdlestone, 197. 21

Mozart left the genre temporarily,^® quite satisfied with all aspects of the piece. Through skillful orchestration and a melding together of the styles of the piano concerto, the sinfonia concertante (specifically K. 297b), and the wind serenade, Mozart acjiieved at once a balance in his quintet for piano and winds between providing himself with a medium for his personal ideals, and, on a different level, satisfying the listening desires of his audience.

In the Kô'chel catalog (Chrono 1 ogisch-thematisches Verzeichnis s’amtlicher Tohwerke Wolfgang Amadeus Mozart) there is a listing of a fragment of another piano quintet from 1785, in which basset horn takes the place of French horn. Kochel numbers it 452a or Anli. 54. It is in the key of B-flat major, and in 6/8 meter. The fragment is only thirty-five measures in length. In a letter of May 31, 1800 (Anderson, p. 1476), Constanze Mozart erroneous­ ly refers to the fragment as an alternative version of the finale of K. 452. Ms. Anderson refers to the fragment as a rough sketch (Anderson, p. 1476).

^^Girdlestone, 197. CHAPTER III

BEETHOVEN'S QUINTET

The Quintet in E-flat, for piano and winds, Op. 16, was first performed on Thursday, April 6, 1797, at a concert given by I. Schuppanzigh in Vienna, The work is listed as

Number 3 on the program, with another work by Beethoven, an aria sung by Madame Tribolet-Willmann, listed as Number

2. Beethoven played the pianoforte in the first perfor­ mance of Op. 16.^^ The first movement is thought to have been completed as early as 1794,^^ but the work was not completed until 1797. The first publication, 1801, is dedicated to Joseph Schwarzenburg, a member of the nobi­ lity and friend of the composer.

The minutes of a meeting of the Tonkunstler-Gesellschaft on May 10, 1797, read as follows: "On the second day Mr. van Beethoven produced a Quintet and distinguished him­ self in the Quintet and incidentally by an improvisation

(during the quintet). An account of the famous incident.

Beethoven (New York: Schirmer, 1961), 200.

^^Georg Kinsky, Das Werk Beethovens ; theiuatisch-biblio- graphisches Verzeichnis seiner samtlichen vollendten Kompositionen (München: G. Henle, 1955), 37. 23 in which the only wind player mentioned is the oboist, Ramm,

is related in Ries' Notizen, page 79:

In the final Allegro there occur several holds before a resumption of the theme [probably measure 75]. At one of these Beethoven suddenly began to improvise, took the Rondo as a theme and entertained himself and the others for a considerable space; but not his associates. They were displeased, and Ramm even enraged (aufgebracht). It really was comical to see these gentlemen waiting expectantly every moment to go on, continually lifting their instruments to their lips, then quietly putting them down again. At last Beethoven was satis­ fied and dropped again into the Rondo. The entire audience was delighted.41

The only other detail of performance history that has

come to the writer's notice is found in Beethoven's

letters. On February 11, 1816, Carl Czerny (1791-1857)

played the pianoforte in a performance of the quintet in

a concert given by Schuppanzigh after the dispersal of

the Razumovsky quartet. Beethoven, present at this per­

formance, severely criticized Czerny's interpretation of

the work. The next day he wrote to Czerny:

Dear Z., I can't see you today, but I shall come to you myself tomorrow in order to have a word with you— I burst out with that remark yesterday and I was very sorry after I had done so. But you must forgive a composer

^^Thayer, 207-08.

Emily Anderson, The Letters of Beethoven (London; Macmillan, 1961), 560, n. 4. who would rather have heard his work per­ formed exactly as it was written, however beautifully you played it in other respects— ... Your true friend, Beethoven.43

This seemingly minor event proves that Beethoven was thor­ oughly familiar with Op. 16 for, in his deafness, he was able to discern Czerny's lack of understanding by just observing his student's performance of it some twenty years after its composition.

In Shedlock's article on the piano quintet in the 44 Notirungsbuch (Sketchbook), one finds interesting infor­ mation on some sketches of the quintet. In addition to providing a record of details of thematic evolution from sketch to published work, the sketchbooks are most import­ ant for their substantiation of the known difficulty and science with which Beethoven composed:

On sheet 81 there is a long sketch of the Andante of the Pianoforte Quintet in E flat (Op. 16), which was played by Beethoven at Vienna on April 2, 1798.^^ The theme is given, but in less ornate fashion than in the printed version—

43Ibid., 560.

44J. A. Shedlock, "Beethoven's Sketch Books," The Musical Times (London and New York: Novello. Ewer, and Co., 1892), XXXIII, 651.

sources, or perhaps a mistake on the part of Shedlock or the publisher. All musical examples are taken directly from the Shedlock article. Example 2. a)

' 7 ■ _| ...j.. _

— p

the form of the oboe solo passage seems to have been for a time, uncertain. We have—

Example 2. b)

ûhidi. p

and at the top of the page, probably an after­ thought—

Example 2. c)

The bars leading to the second entry of the theme on'the pianoforte are written somewhat a la Liszt, thus—

Example 2. d)

and so, with certain differences, the sketch (.which occupies a whole page) goes down to the very last bar of the movement. On the other side of the page is a fairly long sketch of a movement in E with the superscription Sinfonie. In another part of the Notirungsbuch, and on similar paper to the above, is the 26 46 second subject of the Rondo of this Quintet—

Example 2. e)

a T 1

The piano quintet was written during a period in which

Beethoven wrote most of his chamber music for winds, the years 1792-1800. The earliest work for woodwinds is the

Trio in G for flute, bassoon, and piano (no opus number), completed in 1792 at Bonn. Beethoven wrote a duet for flutes autographed, "for my friend Degenhart, from L.v.

Beethoven, 1792, August 23rd, 12 o'clock at night.

This work, the 0 major trio, arid three duets for clarinet

and bassoon were completed just before Beethoven left Bonn

for Vienna. In the same year, Beethoven also wrote the Octet in E-flat, Op. 103, and the Rondino, W.0.0.146

both for pairs of oboes, clarinets, horns and bassoons.

There is some reason ro speculate that these works were

also written in Bonn because of the presence there of this

type of eight-member wind hand.

The Trio in C major for two oboes and English horn.

Op. 87, was written in 1794, followed later by the variations

Shedlock, "Beethoven Sketchbooks," The Musical Times, XXXIII, 651. ;

^Paul Bekker, 1927), 286. on Mozart's "La ci darera la mano," from Don Giovanni, for the same combination of instruments. The trios may have been inspired by Wendt's trio for two oboes and English horn, performed at a concert of the Tonkunstler-Gesellschaft by three brothers, Johann, Franz, and Philipp Teimer, on -

December 23, 1793.^^

The Serenade in D, Op. 25, for flute, violin, and viola, was written in 1795. Beethoven later arranged the work for flute and piano (Op. 41). From approximately the same year we have the E-flat Sextet for strings and horns. Op. 81, and an incomplete quintet for oboe, three horns, and bassoon. Slightly later came the Sextet, Op. 71, for two clarinets, two horns, and two bassoons (1795-96). Chrono­ logically, the quintet, Op. 16, follows next in 1797.

Op. 17, the Sonata for horn and piano, was written in early 1800 for Giovanni Punto (Stich), who came to Vienna from Munich and befriended Beethoven.

Other works for woodwinds are the Trio in B-flat, Op. 11,

for clarinet, cello, and piano; and the famous Septet in

E-flat, Op. 20, for clarinet, horn, bassoon, violin, viola,

cello, and bass. These were completed in 1798 and 1799-

1800, respectively. Beethoven arranged the Septet as a trio

Thayer (p. 206) writes that the variations were per­ formed on December 23, 1797, at a concert for the benefit of widows and orphans in the National Court Theatre.

"^^Thayer, 286. 28 for clarinet, cello, and piano; this is in fact Op. 38. The

Septet will receive further comment later.

After the horn sonata. Op. 17, written for Punto,

Beethoven wrote no more works for winds and piano, with the exception of the Six Very Easy Themes Varied, and the Ten

Variations on National Themes for Piano and Flute or Violin ad libitum. Op. 105 and Op. 107, 1818-1819. It is thought that as his style matured, the wind player could not satisfy the demands Beethoven required in terms of technical skill and physical endurance. Had he continued composing for./winds and piano together, the winds would have become more obscure and the piano more dominant.The beginnings of this possibility are already evident in the piano quintet. An

examination of the score will illustrate how the piano

leads the instruments in importance. All the main themes

are stated by the piano before the winds enter. In the

second movement, however, the winds do take a more prominent

role both as an ensemble and as individual soloists.

Of the wind instruments, the clarinet is the leader in

its statement of thematic material, for in all movements,

it is generally the first to state thematic material after

the initial piano presentation. This is not to say that

the other winds have no importance, for they are all ex­

posed as soloists several times in each movement. However,

51Bekker, 289. 29 the piece is dominated by the piano, and when the winds come to the fore, the piano is still important as a support­ ing instrument.

There is some thought that Beethoven was not totally pleased with the effect he created by opposing piano against winds, and the sense of ensemble created by this opposi­ tion.^^ This is evidenced by the fact that, when writing the string version of the quintet (also Op. 16), he included string accompaniment to the piano that did not appear in the original score.It is further of interest that

Beethoven rewrote almost all of his wind compositions for strings, probably a sign of his eager editors and good business sense!

In the Septet, Op. 20, the winds are combined with a string group, making the ensemble more evenly balanced.

The wind instruments of the Septet are very carefully matched to the strings. The clarinet is highly flexible,

and has a tone of enough depth to match the violin, the horn and bassoon have the same relation to the viola and

cello, respectively.^^ The double bass serves as a solid

foundation for the group.

^^Scherman and Biancolli, ed., The Beethoven Companion, 156.

53 Ibid.

^^Bekker, 289. 55^^, , 30

It is entirely natural for Op. 16 to have a dominant piano part, because of Beethoven’s relative inexperience in writing large-scale works including winds, as opposed to his more intensive personal experience with the keyboard.

In spite of the fact that Beethoven's wind composition is concentrated in his youth, the works for or including piano form the most substantial body of literature in the years surrounding the quintet. The piano trios (Op. 1), the violin sonata (Op. 12), two cello sonatas (Op. 5), and piano sonatas (among them Op. 2, 7, 10, 13, and 1 4 ) are examples of early works for piano, Beethoven's own instru­ ment .

The quintet does show influences of his piano sonatas

from the same years. The piano writing in the sonatas and

the quintet displays a technical and spiritual style akin

to later works by Johann N. Hummel (1778-1837) and Carl

Maria von Weber (1786-1826); and particularly those by

Muzio Clementi (1752-1832), and Jan Dussek (1760-1812)

Of particular interest are the frequent use of the minor

mode, use of octaves, and use of fuller and richer textures.

These are the major characteristics that Beethoven gleaned

The first movement of Sonata Pathétique. Op. 13, shares with the quintet the formal characteristic of a slow introduction.

^^Rosen, 380.

^^Grout, 519. The available literature on thematic relationships between the quintet and any other works by Beethoven is very limited. The first allegro theme of the quintet is

similar to its counterpart performed by the piano in the

Horn Sonata (Op. 17), and also to the second theme of the

first movement of the String Quartet in C minor (Op. 18,

No. 4).^®

Example 3. a) thematic fragment. Op. 16, first movement, measure 22.

/Dlef/r-û, rncL oor^f.ojjfo , _ - =F=C

Example 3. b) thematic fragment. Op. 17, first movement, beginning.

filleqi'o _____

Example 3. c) thematic fragment. Op. 18, No. 4, first movement, second theme.

, . ri - 1- tH-i— h f k H = J ■ j — 1- •1- j-'h

Robert Haven Schauffler, Beethoven, the Man Who Freed Music (New York; Doubleday, 1935), 57. 32

The quintet differs in overall form from the early sonatas published in Vienna. Whereas he employs a four- movement structure in the sonatas— contrasting with Mozart and his contemporaries— he uses only three movements in the quintet. Also, as previously mentioned, the early sonatas are set extensively in the minor mode, while the quintet is written in the major. So with his three-movement organi­ zation and his use of major mode, Beethoven underscores the fact that this quintet and his other works in this period are firmly rooted in the classical tradition.

Up to this point, Beethoven's selection of the quintet's instrumentation has received no attention. The choice is logical and the process visible, especially in light of his frequent employment of these four winds in his early wind works, most notably in the octets of 1792, and of his own pianism— and the preoccupation at that time with composition for his own instrument. Further, there is absolutely no doubt that Beethoven knew Mozart's piano quintet, K. 452, and with his Op. 16 chose to use Mozart as his model. This last point receives amplification in the next chapter.

In terms of his further development, Beethoven's chamber music for winds may be viewed as exercises pre­ ceding his entry into symphonic music in 1799, with the

Maynard Solomon, Beethoven CNew York; Schirmer, 1977), 102. 33 than makes up for his earlier "subordination" of winds by giving to the woodwind player an expressive outlet equal to that of any literature written before him. CHAPTER IV

THE TWO-SIDED COIN

The quintets, K. 452 and Op. 16, have been compared to one another in a great number of treatises on each composer.

Most authorities weight the comparison in favor of Mozart.

No matter what the critics' judgments happen to be, the statement that Beethoven's quintet is an imitation (and an inferior one) of Mozart's is most often made. When a work as great as K. 452 is written, it certainly must be diffi­

cult to surpass it with a better one. The fact that

Beethoven achieved what he did in a genre for which he is

not especially famous, at a time when he had not reached maturity as a composer, is a credit to him and to the

quintet.

Obvious similarities to K. 452 appear in the quintet of

Beethoven besides the same instrumentation: the key of

E-flat, a three-movement structure (as opposed to Beethoven's

usual four), a slow introduction to the sonata-allegro first

movement, and a rondo finale. At this point, it should be

remembered that though Beethoven was a masterful imitator. 35

Op. 16 is in itself a significant contribution to the classical chamber music literature for wind instruments:

While Beethoven must have known Mozart's quintet, composers as great as he do not just copy works by their seniors. Never­ theless, it (Op. 16) is, like the Second Piano Concerto, one of very few of his works that can be called "Mozartian," and the only one provoking stylistic reminiscences of Mozart's mature E-flat mood as found, for example, in the quintet

Along with the basic imitation of Mozart's instrumentation

and formal design, the influence of Clementi and Dussek

contributed much to the sound of the quintet (see Chapter

III).

Rosen's description of the style of the Op. 16 quintet

is very apt at this point:

... the Quintet for Piano and Winds may be called "classicizing" rather than "classical" in style, like the works of Hummel: they are reproductions of classical forms— Mozart's in particular— based upon the exterior models, the results of the classical impulse, and not upon the impulse i ts e l f .

He goes on to clarify that this is not to say that the

"classicizing" works do not have a pleasing effect on the

listener, but they do lack formal unity.

Returning to the comparison of the composers of the two

quintets, we know that Mozart was also an imitator at times,

^^Denis Arnold and Nigel Fortune, The Beethoven Com­ panion (London; Faber and Faber, 1971), 208.

®^Rosen, 380-81.

^^Ibid., 381. but in imitating he improved on his models, as his work was a synthesis of the national styles of western Europe.

Beethoven's imitation did not accomplish any improvement, rather it can be looked upon as a learning experience.

Grout relates Mozart's musical style to a trait he refers to as "absolute musicality," as opposed to Beethoven's style, which he calls "autobiographical."®^ By this, Grout is

saying that the musical style of Mozart was not affected by

non-musical influences, such as his own personal hardships

and disappointments, the political conflicts of his day

(like the French Revolution), or Mozart's thoughts on

Nature. On the other hand, Beethoven is the composer whose

music reflects more inner emotion, and expression of his

own sufferings, the political happenings of the day (Eroica

symphony at first dedicated to Bonaparte), and Nature than

any other composer before him.®®

Mozart and Beethoven were also different as to the

difficulties (or lack thereof) which each of them encountered

in writing music. Mozart composed with ease, usually working

his ideas out in his mind and then transferring them to

music paper.®^ A good example of Mozart's ability in this 37 regard is the premiere performance of the Violin Sonata,

K. 454, in which Mozart played the piano part from memory

(with empty music sheets at the piano) because he had not had time to write it out. On the other hand, Beethoven wrote with great difficulty and was severely self-critical.

He kept sketchbooks, writing down ideas as they came to him, and then working them out on paper until a final solU:- tion was reached.This probably goes far in explaining

their total musical output there is an obvious difference in the place each quintet takes in the chronology of its respective composer. With Beethoven's quintet we have

Op. 16 of 135, and with Mozart's, K. 452 of 628.

It seems strange that Beethoven did not write a con­ certo for any wind instrument ; at least, we have none in our repertoire today. He composed only five concertos for piano, one for violin, and the triple concerto for violin, cello, and piano. On the other hand, Mozart, though he ignored the cello as a solo instrument, lavished numerous concertos on the piano and violin, left a masterpiece for violin and viola, and wrote at least one concerto for each of the instruments of the woodwind quintet. The genre of

Einstein, 258.

®^Grout, 514.

'^^Ibid. , 513. 38 quartets and quintets for single winds with strings is an­ other area that Beethoven does not explore in his music.

Also important to this discussion of the quintets is the understanding of the evolution of the classical style, as well as other developments that made possible such works

as the quintets. Among these many changes occurring during

the twenty-year span, 1755-1775,were the technical ad­ vancements of the piano and of the wind instruments. The way by which these facets were mastered by virtuosi of the day contributed to changing performance practices of that time. Also, there gradually came to be more public per­

formances by professional musicians.

Because of all these developments, chamber music be­

came a much more serious, more prominent, and a more

meaningful part of the music of the late eighteenth century.

The Mozart quintet could be said to be a culmination of the

solidification of these developments: the maturation of the

classical style, the increase of public performances, and

advances of the level of instrumental playing gave Mozart

an environment suitable for the creation and subsequently popularity of the quintet.

^^Ibid., 46. 39

In his Essays on Musical Analysis, Tovey says that the quintet of Mozart is an example of a very simplistic work written in his mature style period.He considers Beet­ hoven's quintet to be in an immature style in terms of his entire output and is indeed critical of Beethoven's early style, and especially his imitation of K. 452, He con­ tinues :

It is interesting and important to note that almost the majority of Beethoven's early works show a nervous abruptness which is as different from the humor of Haydn as it is from the Olympic suavity of Mozart. There are, indeed, early works which are Mozartean, nobably the most brilliant success of Beethoven's first period, the septet, which is perhaps the only work of Beethoven's which earned Haydn's unqualified and enthusiastic praise ; but the Mozartean Beethoven imitates only the lighter side of Mozart. In the quintet for pianoforte and wind instruments. Opus 16, Beethoven is, indeed, obviously setting himself in rivalry with Mozart's quintet for the same combina­ tion ; but, if you want to realize the dif­ ference between the highest art of classical composition and the easygoing, safety-first product of a silver age, you cannot find a better illustration than these two works, and here it is Mozart who is the classic and Beethoven who is something less.76

On a closer examination of the music itself, Beethoven

deserves more credit than Tovey gives him. As regards over­

all structure. Op. 16 is a relatively longer work.

'^^Tovey, 107. 40

Although the introductions of the quintets differ in length by only one bar, the whole of the first movement of Op. 16 is 94 bars longer than the first movement of Mozart. The total number of bars is; Op. 16=785, K.45 2 = 4 8 4 . This difference in length is due in part to longer themes by

Beethoven; for example, the first theme of Op. 16 is six­ teen bars in length, whereas Mozart's consists of only four bars. Further, Beethoven uses extensive motivic development and slower harmonic rhythm. Beethoven is showing in this work his individuality by gradually disolving the confines of sonata allegro form. The other movements do not have substantial differences in length. Mozart's second movement is 124 measures in length, Beethoven's is 112. Mozart's third movement is 238 measures in length, Beethoven's 257.

Though the Beethoven is much longer, the piano is the most active instrument in the ensemble, so the added length does not in fact tax the endurance of the wind players.

Both first movements are in sonata form and have similar

indications of tempo, as is the case with each movement. An

interesting example of Beethoven's formal innovation is the false recapitulation in the subdominant. A-flat, in the

quintet's first movement (m, 174). If this were truly the

The difference in time signatures must be taken into consideration to determine the exact differences in length. Though this may be a bit too statistical for this type of study, it is indeed a fact that is worth mentioning. Per­ formance times are approximately twenty minutes for the K. 452 and twenty-four minutes for Op. 16. 41 recapitulation, the proportions of the movement v/ould be much closer to those of Mozart's work.

In the second movement, Mozart uses the sonata form again, while Beethoven uses the rondo form (ABACA-Coda).

Each finale is in sonata rondo form, ideally sketched

ABACABA; further, the C section of each is in the minor mode. The C section of Op. 16 is developmental, but

Mozart introduces new thematic material in that section.

Both composers vary their rondo form. Mozart's variation, the more striking of the two, has the schematic design of

ABACB(A)Cadenza A. This is clarified in

Chapter II. Beethoven's final statement of A lasts only

five measures, after which a codetta brings the movement to

its conclusion.

Regarding the use of the minor mode, a few comments are

appropriate. Neither composer calls upon the minor in his opening movement. In both his second and third movements,

Beethoven often uses the minor mode ^ much more than does

Mozart.

The major stylistic devices employed by Mozart are a

concise, conjunct, and lyric melodic range, along with a

steady, fairly rapid harmonic rhythm, Beethoven's writing

is particularly idiomatic for the keyboard, with the extens­

ive use of solid and broken octaves, broken chords, and 42 pedal tones. Throughout Op. 16, there is greater emphasis upon wide contrasts of dynamics, particularly in the effect, forte to pian As a culmination of these characteristics, the musical ideas, and therefore the sound of the quintets, are much different. The overall effect of the Beethoven quintet is more dramatic.

The intent of Beethoven was different from any other composer of his time by the fact that he purposely composed difficult music most of his lifetime.This arose largely because Beethoven considered himself an artist creator, even at this early stage of his career. On the other hand, the concerti of Mozart have a wide range of difficulty because he did not try to write difficult music, but rather he was able to make musically satisfying effects while limiting technical difficulties. The difficulty of the music was often dependent on the ability of the player for whom the composition was written.

There is considerable reason to say that this combination of instruments did not provide Beethoven with the power needed to carry out the much more dramatic and technical demands called for in his more mature works, except in the

symphony. This point is one of the essenbial differences

between Mozart and Beethoven. Mozart could write music as

simplistic as the piano quintet in his most mature style, while a work of the same scope would not have been attractive

78 Rosen, 385. 43

to Beethoven— or practical in terms of demand placed on the wind player— after his period of early developmental and

imitative style. CHAPTER V

CONCLUSION

In this study of the quintets in E flat by Mozart and

Beethoven, the similarities of key and general structure

(as a result of Beethoven's 'imitation' of Mozart) have been

shown. The contrasts are more striking— such as the preva­

lence in the Beethoven Op. 16 of longer themes, the greater

use of the minor mode, and slower harmonic rhythm.

There are obvious differences between the works as to

the respective roles of the piano and the wind group. In

Op. 16, the piano is truly the leader of the group, but in

K. 452, Mozart develops a very symmetrical balance between

all the instruments.

In summary, the differences of the quintets are very

telling with regard to the development of the musical language

of the eighteenth century. With respect to the total musical

output of each composer, we are dealing with the mature

style of Mozart, as opposed to a somewhat early, 'imitative'

style of Beethoven.

One should realize that with each of these works one

is dealing with a completely different set of circumstances;

Mozart is the inventor who is one of the personifications of

classical style, and Beethoven is the 'imitator', the young

composer who was still learning his craft. The individuality 45 of Beethoven, brief flashes of which are seen in Op. 16, is the basis for his style which breaks into a newer, more ex­ pansive and more powerful harmonic and structural style while still modeled on only the broad formal outlines of the clas­ sical period of composition. APPENDIX A

THE a n a l y s e s '^®

Following the summary sketches of the form of each movement of the quintets, the reader will find the works in their entirety, accompanied by harmonic analysis.

Mozart, Piano Quintet, K. 452

Movement I: Largo/Allegro Moderato C Key; E-flat Form: Sonata Allegro Measures : 122 Introduction: m. 1- Theme 1: m. 21- Theme 2: m. 43- Development: m. 66- Recapitulation: Theme 1: m. 82- Theme 2: m. 96-

Movement II: Larghetto 3/8 Key: B-flat Form: Sonata Measures : 124 Theme 1: m. 1- Theme 2 : m. 32- Development : m'. 44- Recapitulation : Theme 1: m. 74 Theme 2: m. 113

The scores of K. 452 and Op. 16 that are used in this document are no longer under copyright law. Also, symbols used in the analysis of the piano quintets are notated like those used by Piston. None of the symbols have any refer­ ence to figured bass. Movement III; Rondo— Allegretto Key : E-flat Form: Sonata rondo Measures: 238 A: m. 1 B: m. 40 A: m. 71 C: 87 B: 130 A (secondary theme): m. 139 Cadenza; m. 159 A: m, 205 aUINT ETT far Pianoforte,Oboe,dariaette,Hora and Pagott

KBch.Verx.H9 43%. ipoiirt M. M>n 17S4 JUTft60W.CTloN

Pianoforte

Et,: ÿ

"Vt------n——— -r^ 9i dlegro moderato. ^ ^ ^ p.___ , *f— a r«. r r "":.:r'J"ti |j"

r Xb Jt % jjrx ^

, r ? / ' 1 t - r " ' ^

u. ,, , r^a |q_, ,.._ ■ ■ ------r y >S ^ ;,.LU =Jap^l!^bËl t/ A^ h . .. - --—Ij'h L_M ■- U a 1 , ,.. --*- = ' - -

L,i, ■■■: ...^ f f_p f -Q£j ü £ft± :^ -bjaid 2 : 6 ZTj, A

I (% V X X3VIÏ, r^xTr,x

BiX 3T f££:

%; x n r

'f-if p ii Ilf t r fi-Tilj,fT] f

r ill CT

1 W ' 1^1

\ iu ]2Zÿ ^OlL d # L - r = : ^ ' :5, = = ^ y ' r ' / ^ ______r-flfFf.-f'-r > .f=-■.--«-HfJ...f. f. r = ; # = , «11 '

/ | : ^ . - m . sjz..^ - j- ' ~_l -■ T H W.A.M.MX. ( x ) 3- ■

... g* ffi

1^'— 1 ^ 1 :n^_^r - - 1 /______^ ' " 1— --- 1Î-,

f t f f ^ ■'. sl-j____J.."I.

''4 ^7 f ^ 3 XX X X X □ 33- --- ^ ^ — ------

/ T - H Li — / W i * » - l n ^ |:--= f 1 j ' L ^ i L = W -^"---!-- ^ r ^ — ^ l B 1 — :%-- f ? T - r ^ 5 - 3 //4-->-^W=y:R t i i ï ^ Y^iiT j T j t kJZ). . rf==— -

. 3 d :

'

.r.rr> iip- 60 I’^-f - ^ --- — ^ r ~ T ^ ' &-i"

G,A^e: / .-L J.-..----::T=— Ir r r -T— r.r 'k 1 h,i=^ X . . " ^ -N tx. ^ — I—I— 1-- ^ 3i=- ^Sfer-f'- :- 1 -l-- = t ^ -- -1 ^ , r — - ■7'?^

U " -914.] m » ^ ' ' '—^ — ^

/-______^ -'

ff 3 ^ Rondo,AJJeifrcUo. ( *

■ M l S h - 1

W i ' / ' j -"-' " 1 1 3 3f=:'=ia3 r ¥ f n > r i , . / >0 f 1

f V ' / 1 s X -X X n . m

î: % 3Z: J: -XT X X I 69_____ 'Iktr^i.A

5 ‘i c'. I ' r ifîirn ''^ ' n - i f ' f - Q II' - r . , , r!ilffiv,r;ii I.

m

;nz% ^ i ^ h m

fj. " ' ;.-s^ i

KP.P,pLp,P.RP

wvMÿar !>' Âk-Sf-! . r i — r ■ 3 r-----r = l ^F^f = " 1

//r^— , r ---- ^ i'."iq .BpJT^gir-i ^ UJ {[Jf^ rr^-rrr-nTTRi

'r-' i"'' ^ P oc i i Jr_. ,r_f.

j3?L£f^C£F

-%- 3 ^ 3Ty % :Aw..M.3r 3Z: rrrir i r

'Hi'êine l â â

§A ^P~st ^ ^ ^ ^

^ ^ v ^ i.. m

jy-; l'f'' r>!?fÉ- ÏÏ.Î fif r

I [jO Cadenza in tempo ff« ifi rrf

-U------k---- P = m# W # ■ . - ' 5 ^ r ....r""-r"r'l i i

& y rrr-»--..!^- y iÀ liü «05 1— " r# -n 1 L .. 11 jZ S lU j )(-r jjjU

> x : '$■ i'S^s X 3Z^ r ^ ^

^ ' ' ...... ' ^ : - ..... -

ffpT-if-7 [n r ?' 7 - 7 ..7^ 7 ) ly ^ D'D'g V'cM #

7 ^-Jv—\^^7^p7k^pjaÿt l m, Kcj.^PikI>^% j.% k&i-tT 'P ' P jf - s ^ 4 = H = 5 = ^ "ifi* W.A.%». r ^

Beethoven, Piano Quintet, Op.- 16

Movement I : Grave/Allegro ma non troppo C/ 3/4 Key: E-flat Form; Sonata Allegro Measures; 416 Introduction: ra. 1-21 Theme 1; m. 22- Theme 2; m. 87- Development; m, 156- Recapitulation: Theme 1; m. 241- Theme 2; m. 278- Coda; ra. 346-

Movement II; Andante Key ; B-flat Form; Rondo Measures: 112 A; ra. 1- B; m. 17 A; ra. 41 C; ra. 56- A; m. 79- Codetta; m. 94-

Moveraent III: Rondo— Allegro raa non troppo 6/8 Key; E-flat Form: Sonata rondo Measures ; 257 m. 1- ra. 38— ra. 76— ra. 92- m. 142- m. 179- ra. 227- Codetta; m. 232- aUINTETT fiirPianoforte,Oboe,Clarlaette,Horn nod Fagott

BtctlioveafWctke.

BcuFônlea Toa Scliwufieaberg gtwidnet.

m ' 'y # m

MUgro ma non troppo X ^ ^ ^ ------p.------1-----

' ------U-J . 1------— n ^ 70 6-^ J J ^ p..------^

^ U i i U m — ■ ^-. = ,=^' -, ■ 1 ■ , . ,— ■-,. A 7 f f-T>, % . ' — - ' ' - ■

t f t I iff' m

n o

US

%. h m m

m m A m =5i

/ 7 3 ofwaci w

3C > .T .:r

" '\ ^ 3 / 0 '/ i 4 i

ificr X isfcîcx X X ill ...... : ' ...... = - ' 1

«,L_. ,r; : I. ■ .. .„ ■

= ‘^■H'-Pü-r^ 1 ro.Tri~rî«r=3-=r- 1 p jg ft C T i f r ùooh

X X Andante euUbile.

X 3"-, - X ~ - ÿ r j z 'L ^7

^ I P.~ » di l U A

'C 1 \"Z: ' ivw iv YUy \(, 3r p b \ m (t k «hv

^:=XZ%z:.^

:T X . I p-j----- >— G StA-Kak

‘’Il l III lÀ-hir

M' mrr ,C, ' Q 1

i-‘’f f ff If fir

^ \ r , ^ 5 ». zTf, or?

-r^—_;ff3>0....'8 ------1 . , .>»««,

6>k) X -s: 3; «... TC ' % bi>:vir|. ^ 14.

i T X " b ^ T c : ' f"" f--- -r

Œ)

LLu y=Jir 'SP X ^ r— f-i'r.— -r i -- --- .-^ -- ™ -- L. /-\ -______'

X V I y" )

V ù j : ' m j “ :^7 C ' X

X 13.

1 1 . :3rt X X a; at

f W&Pr)^-r^ I flo 112

///

A ' T ' ' 1 -r 1 .------.------

--- 1----- L

punt,,. ' rr rr — r

^ PY N ^ F % n #=f^z | # T^-k

1 ^---'--- 'j ^ ^ ...t . 1 f 4 "-- - -- f-L.. -p. ---- A ^ w r r r i 1^ ^ r ? # j i T f - H# X W M

8 3 W 3 f Ü ^ T T T T l

tg; % TT]T]WWi ^ I Lil/ I* -P p-i/»

:zz 3Z:i

f^w^j^ptgriri.iiiii^ -r. -tE. k T , ^ • J,

^ s'^r r *~*- " ■ - 1*' j - y - ' '--- W k m -- L. =W,t^4_..r 1 I £ 1 ' — 1— tey-*j— '— ' - ^ J '' ••• ' - i J . . :-^ iUl i ^ T M f j9)) m a ^ < £ M S H ' ™ Ç — ÏC 3 j r i:^ Mfc n u

m m

K f ^ F r APPENDIX B

DISCOGRAPHY

Beethoven, Quintet for Piano and Winds in E-flat, Op. 16.

* indicates that Mozart Quintet for Piano and Winds is on the same disc.

♦Ashkenazy, London Wind Soloists LON 6494

♦Brendel, Hungarian Quintet Members Vox 11520; 511520

3-SUBX579

♦Gieseking, Philharmonic Wind Quartet ANG 05303

♦Glazer, New York Woodwind Quintet Con.-Disc 1213;213

Orion 76224

♦Guida, Vienna Philharmonic Orchestra DGG 18638; 138638 Wind Ensemble

Panhoffer, Vienna Octet Members LON 6063

Paris Wind Ensemble Nonesuch 1054 ; 71054

Serkin, Marlboro Ensemble COL M33527

♦Serkin, Philadelphia Woodwind Quintet COL ML-4834

Tashi RCA ARL 1-12217 ARS 1-2217 ARK 1-2217

Vienna Octet LON STS-15053 Mozart, Quintet for Piano and Winds in E-flat, K. 452.

♦indicates that Beethoven Quintet for Piano and Winds is on the same disc.

♦Ashkenazy

Brain, L.; Walters; Brain, D . ; James; Seraphim 60073 Horsley

♦Brendel

Brendel, Hungarian Quintet Members 3-VOX VBX48; SUBX-548

♦Gieseking

♦Glazer

Glazer, New York Woodwind Quintet Orion 7281

♦Guida

Hancock, Shulman Quintet CCC-30

Levine, Still, Brody, Clevenger, ARL 1-3376 Elliot

Panhoffer, Vienna Octet Members LON 9181, 6109

♦Serkin

Shulman, Weber, Klein, Carmen, CAM 817; 1817 Hancock

Tashi RCA ARL 1-2863 ARK 1-2863

Veyron-Lacroix, French Wind Quartet Oiseau 50016

Vienna Octet LON STS 15059

Vienna Symphony Winds WEST 19023; 17023 BIBLIOGRAPHY

Anderson, Emily. The Letters of Beethoven. 3 volumes. London: Macmillan and Co., Ltd. New York: St. Martins Press, 1961.

Anderson, Emily. The Letters of Mozart and His Family. 3 volumes. London : Macmillan and Co., Ltd., 1962.

Arnold, Denis and Nigel Fortune, editors. The Beethoven Companion. London: Faber and Faber, 1971.

Bekker, Paul. Beethoven. New York: E. P. Dutton and Co., 1927.

Blom, Eric, editor. Grove's Dictionary of Music and Musicians. 5th ed., 10 vols. New York: St. Martin's Press, 1973.

Deutsch, Otto Erich. Mozart, A Documentary Biography. Stanford, California: University Press, 1965.

Einstein, Alfred. Mozart. His Life, His Character, His Work. New York: Oxford University Press, 1945. Ferguson, Donald N. Image and Structure in Chamber Music. Minneapolis: University of Minnesota Press, 1964.

Girdlestone, C. M. Mozart and His Piano Concertos. Norman, Oklahoma: University of Oklahoma Press, 1952.

Grout, Donald Jay. A History of Western Music. Revised edition. New York: W. W. Norton and Company, Inc., 1973.

Hess, Ernst, "Anton Stadler, "Die Musik in Geschichte und Gegenwart, 14 vols., ed. Friedrich Blume. Kassel: Barenreiter, 1949-68, XII, 1119-22.

Hinson, Maurice. The Piano in Chamber Ensemble. An Annotated Guide. Bloomington: Indiana University Press, 1978. Jahn, Otto. Life of Mozart. 3 volumes. London: Novello, Ewer, and Co., 1831.

Kinsky, Georg. Das Werk Beethovens; thematisch-biblio- qraphisches Verzeichnis seiner samtlichen vollendten Kompositionen. Nach dem Tode des Verfassern abge- schlossen un hrsg. von Hans Halm. München: G. Henle Verlag, 1955.

Kochel, Ludwig Ritter von, ed. Chrouologisch-thematisches Verzeichnis samtlicher Tonwerke Wolfgang Amadeus Mozart. Wiesbaden: Breitkopf & Hartel; New York: C. F. Peters, 1964.

MacArdle, Donald W. and Sonja Pogodda, editors. Beethoven Abstracts. Detroit: Information Coordinators, Inc.,

Marx, Josef. Preface to the Cambini Quintet, No. 3. New York: McGinnis and Marx, 1963.

Massin, Jean and Brigitte. Wolfgang Amadeus Mozart. Fayard, 1970.

Newman, William S. The Sonata in the Baroque Era. Revised edition. New York : W. W. Norton.

Nottebohm, Gustav, editor. Ludwig van Beethoven Thematisches Verzeichnis. Leipzig: Breiffopf and Hartel, 1925.

Rosen, Charles. The Classical Style. New York: W. W. Norton Sc Co., Inc., 1972.

Schauff1er, Robert Haven. Beethoven, the Man Who Freed Music. New York: Doubleday, Doran and Co., Inc., 1935.

Scherman, Thomas K. and Louis Biancolli, editors. The Beethoven Champion. Garden City, New York: Double­ day, Inc., 1972.

Shedlock, J. A. "Beethoven's Sketch Books," The Musical Times, London and New York: Novello, Ewer, and Co., 1892, XXXIII, 649-652.

Solomon, Maynard. Beethoven. New York: Schirmer Books, 1977.

Thayer, Alexander Wheelock. The I.ife of Ludwig van Beethoven. 3 volumes. New York: Schirmer, 1961. Tovey, Donald Francis. Beethoven. Ed. preface by Hubert T. Foss. New York: Oxford University Press, 1945.

Essays in Musical Analysis : Chamber Music. London: Oxford University Press, 1944, and 1972.

Zobeley, Fritz. Portrait of Beethoven. New York, New York: Herder and Herder, 1972.

Beethoven Werke. München: G. Henle, Abteilung IV, Band 1, 1-46, 1964.

Beethovens Werke. Leipzig: Breitkopf and Hartel, Serie 10, No. 74, 1-40, reprinted 1949,

Mozarts Werke. Leipzig: Breitkopf and Hartel, Serie 17, No. 1, 2-31, 1879.

Mozart, Wolfgang^Amadeus. Neue Ausgabe Samtlicher Werke. Kassel: Barenreiter. Serie VIII, Werkgruppe 22, Abt. 1, 107-165, 1957.