Performance Editions of Three Works for Winds by Gyorgy Druschetzky
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PERFORMANCE EDITIONS OF THREE WORKS FOR WINDS BY GYORGY DRUSCHETZKY Brandon K. McDannald, B.M.E., M.A. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 201 8 APPROVED: William Scharnberg, Major Professor Peter Mondelli, Committee Member Kathleen Reynolds, Committee Member John Holt, Chair of the Division of Instrumental Studies Benjamin Brand, Director of Graduate Studies in the College of Music John W. Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School McDannald, Brandon K. Performance Editions of Three Works for Winds by Gyorgy Druschetzky. Doctor of Musical Arts (Performance), August 2018, 266 pp., 3 appendices, references, 23 titles. Gyorgy Druschetzky was a noted Czech composer of Harmoniemusik, who wrote more than 150 partitas and serenades, along with at least thirty-two other selections for larger wind groups. This is in addition to twenty-seven symphonies, eleven concertos (most for wind instruments), two fantasias, forty-seven string quartets, two operas, a ballet that is lost, and other miscellaneous chamber music for various combinations of wind/string instruments. Three of his works for winds have existed only in manuscript form since their composition: Concerto in E-flat pour 2 clarinett en B, 2 cors en E-flat, 2 fagott; Overture to Mozart’s Die Zauberflöte; and Partitta a la camera a corno di bassetto primo, secondo, terzo, due corno di caccia, due fagotti. These works remain remarkably interesting to modern ears and deserve to be heard in the twenty-first century. Along with a brief examination of Druschetzky’s life and how it figures into the history of Harmoniemusik, this work presents each piece edited into a modern performance edition. Copyright 2018 by Brandon K. McDannald ii ACKNOWLEDGEMENTS I would like to thank all of my professors, family, and friends that have been very supportive of my work over the years. Without your guidance and encouragement, this would not have been possible. iii TABLE OF CONTENTS Page ACKNOWLEDGEMENTS ............................................................................................... iii CHAPTER 1. INTRODUCTION ....................................................................................... 1 Purpose of this Study ........................................................................................... 1 Current State of Research .................................................................................... 4 CHAPTER 2. GYORGY DRUSCHETZKY AND HARMONIEMUSIK............................... 9 Druschetzky’s Life and Music ............................................................................... 9 Druschetzky Compositional Style ....................................................................... 14 Harmoniemusik in the Late Eighteenth Century ................................................. 15 CHAPTER 3. PREPARING THE EDITIONS ................................................................. 21 Concerto for 2 Clarinets in B-flat, 2 Horns in E-flat, and 2 Bassoons ................. 23 Overture to Mozart's Die Zauberflöte .................................................................. 26 Partitta a la camera a corno di bassetto primo, secondo, terzo due corno di caccia, due fagotti ............................................................................................... 28 Conclusions ........................................................................................................ 30 APPENDIX A. SCORE AND PARTS: CONCERTO FOR 2 CLARINETS IN B-FLAT, 2 HORNS IN E-FLAT, AND 2 BASSOONS ...................................................................... 32 APPENDIX B. SCORE AND PARTS: OVERTURE TO MOZART’S DIE ZAUBERFLÖTE .................................................................................................................................... 153 APPENDIX C. SCORE AND PARTS: PARTITTA A LA CAMERA A CORNO DI BASSETTO PRIMO, SECONDO, TERZO DUE CORNO DI CACCIA, DUE FAGOTTI .................................................................................................................................... 203 REFERENCES ............................................................................................................ 265 iv CHAPTER 1 INTRODUCTION Purpose of this Study Gyorgy Druschetzky’s1 contribution to the world of wind music was quite substantial. He was a noted Czech composer of Harmoniemusik,2 who wrote more than 150 partitas and serenades, along with at least thirty-two other selections for larger wind groups. This is in addition to twenty-seven symphonies, eleven concertos (most for wind instruments), two fantasias, forty-seven string quartets, two operas, a ballet that is lost, and other miscellaneous chamber music for various combinations of wind/string instruments.3 The documentation of Druschetzky’s career is much more limited than that of Mozart, Haydn, or Beethoven, and he does not appear to have had the following of someone like C.P.E. Bach. There are nevertheless four significant scholars – Weinmann, Whitwell, Sas, and Frame – who have examined his extensive output. Most of Alexander Weinmann’s work is stored in the library at Duke University, which preserves over 7000 unique items from his collected papers. Weinmann also created many modern editions of Druschetzky manuscripts, of which a large number are located in the Hungarian National Library, and with Frame, he also co-authored the Druschetzky 1 The spelling of Druschetzky’s name varies widely depending on the source. Different variations include: Georg (Jiří) Druschetzki (Družecký, Druzechi, Držecky, and Truschetzki). For the purposes of this document, the initial spelling presented is used. 2 Harmoniemusik can be defined as works for wind instruments, usually in combinations of flutes, oboes, clarinets, horns, bassoons, and sometimes basset-horns, which were popular in the courts of Europe from approximately 1780 to 1840. 3 Alexander Weinmann and Damian A. Frame, "Druschetzky, Georg," Grove Music Online, Oxford Music Online, Oxford University Press, http://www.oxfordmusiconline.com/ subscriber/article/grove/music/08209 (accessed October 1, 2015). 1 entry in the New Grove Dictionary of Music and Musicians. Like Weinmann, Whitwell examined a large collection of music from the Classical era. His research centered around the development of the wind ensemble, of which the music of the Classical era takes up only a portion of his nine-volume work on the subject.4 Ágnes Sas built a chronology of the works housed in Druschetzky’s estate through an examination of the composer’s handwriting, the handwriting of his copyists, paper types, terminology used at various points in the composer’s life, and a number of other factors. The final scholar on this list, Damian Frame, wrote the most extensive work on Druschetzky’s life. He includes a biography of Druschetzky, pieced together from the various documents that give hints to the composer’s activities and whereabouts. The University of Iowa’s Voxman Research Archives includes three unpublished Druschetzky manuscripts: Concerto in E-flat pour 2 clarinett en B, 2 cors en E-flat, 2 fagott; Overture to Mozart’s Die Zauberflöte; and Partitta a la camera a corno di bassetto primo, secondo, terzo, due corno di caccia, due fagotti. Further references to these pieces in the literature on Druschetzky are sparse. The Concerto in E-flat and Partitta are known to Frame, as he mentions both in the second volume of his work. These same pieces are also given brief mention in the work of David Whitwell.5 The overture from Die Zauberflöte, on the other hand, is noted for its absence by Frame and other scholars.6 Drawing on this scholarship and other relevant sources for historically- informed performance, this dissertation presents modern performance editions of these 4 David Whitwell, Wind Band and Wind Ensemble Literature of the Classic Period (Northridge: Winds, 1984). 5 Whitwell, 190-194. 6 Damian Andreas Frame, "The Harmoniemusik of Georg Druschetzky (1745-1819)" (PhD diss., Queen's University, 1993). 2 three manuscripts, and it is hoped that these new editions will encourage more performances of Druschetzky’s music and contribute to the broader understanding of the world of early wind-band music. Each of Druschetzky’s manuscripts is historically significant in Harmoniemusik literature for different reasons. Frame’s dissertation discusses Druschetzky’s arrangement of Mozart’s Die Zauberflöte at some length, noting that the overture is conspicuously missing from the manuscripts he examined.7 The facsimile found in the Voxman Research Archives is obviously the work of a copyist that named Druschetzky as the composer. Instrumentation and scoring matches the editions in the second volume of Frame’s thesis for two B-flat Clarinets, two horns crooked in E-flat, and two bassoons in octaves throughout. It is my assertion that this work is the missing Overture. As the Voxman collection lists no library of origin, the question remains as to where the original was found.8 The concerto is a three-movement clarinet solo with the accompaniment scored for standard Harmonie ensemble. Considering its era of composition, this is likely one of the first works written for clarinet accompanied by wind-band. The Rondo movement features dance episodes representing different countries in Europe, which results in an interesting and entertaining combination of styles, some of which are not commonly found in music of the era. The rondo theme occurs throughout