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 2018
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.
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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
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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 historicallyinformed 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).
2three 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 the work, but is
7 Frame, 26. 8 How it came to be separate from the ones Frame studied, eventually finding itself in the Voxman Research Archives, is a topic for future study. However, it is logical to assume that Himie Voxmann found the manuscript in a library either unavailable or not investigated by Frame during his dissertation research.
3conspicuously missing between two dances, being perhaps an omission on the part of the copyist.
The Partitta features three basset horns instead of clarinets. Basset horns were common during this period and Druschetzky, along with many of his contemporaries, wrote for trios of basset horns combined with other winds. The basset horn trio is an ensemble lost to the passage of time and this short, multi-movement work provides a glimpse into a popular medium of the day. While not a work of monumental length or difficulty, it is a fine example of music written for amateurs, using a popular instrument combination of the era.
The three works demonstrate the variety of Harmoniemusik written during the late eighteenth to early nineteenth centuries, and while they existed only in their manuscript form for over two hundred years, perhaps being performed few times during Druschtzky’s life, these works remain remarkably interesting to modern ears and deserve to be heard in the twenty-first century. Frame notes that “Druschetzky has suffered unwarranted neglect by comparison with the works of other Kleinmeister from the Classical period,”9 and it is hoped that these editions will generate renewed interest in his music.
Current State of Research
The Weinmann collection includes manuscripts, correspondence, personal notes, books, and other miscellaneous materials used during Alexander Weinmann’s extensive research of music published in Vienna during the Classical era. Due to the wide range
9 Frame, vii.
4of music published during this period, Weinmann’s work encompasses a large number of composers and genres. Druschetzky is just one of many composers featured in the collection that includes materials dating from as early as 1614 by composers such as Joseph Haydn, Johann Baptist Vanhal, Johann Josef Rösler, Ferdinand Kauer, and Johann Sebastian Bach. Due to copyright restrictions, contact with this collection has come primarily via secondary sources.10 However, these secondary sources have provided a wealth of information on Druschetzky’s music.
Like Weinmann, Whitwell examined a large collection of music from the Classical era. Volume four of his work provides a history of Classical music centered around the early wind-band, and volume eight is a catalog of works from this period, surviving and lost. Incipits are given for works that he was able to examine, which is helpful in matching the Partitta with its entry. Two concerti are lumped together with no incipits given, so it is not possible to determine if the manuscript I have obtained is one of these two; however, both the instrumentation and keys match. When possible, Whitwell provided the library of origin along with shelf-marks and/or call-numbers. The Partitta includes a call number, while the concerto lacks any information with the exception of its home library. To further complicate matters, Whitwell notes that, “in some cases I have given information on works which I myself have not found in libraries.” He also admits to giving, “many works which are no longer believed to exist for the purpose of expanding the reader’s perspective of the wind music of this period.”11 As he does not display
10 David M. Rubenstein Rare Book & Manuscript Library, “Alexander Weinmann Papers,”
https://library.duke.edu/rubenstein/findingaids/weinmann/#aspace_ref24_ffa, Duke University (accessed
October 22, 2017). 11 Ibid, v-vi.
5incipits of either concerto, it is likely that they were not available to him during his research. The section listing arrangements of Die Zauberflöte for early wind ensemble notably does not mention an arrangement by Druschetzy, presumably because Whitwell was not aware of its existence, even though the list of libraries at his disposal is quite large, spanning nearly six pages of his work.
Ágnes Sas chose a narrower focus than the other scholars on this list, focusing on building a chronology of Druschetzky’s works by looking at various copyists he employed. Sas notes that the poor appraisal of works by Hungarian composers is due to the lack of a thematic catalogue for each composer (partially completed by Frame for Druschetzky), clear chronology of works, and the fact that many works have only survived as sets of parts.12 Sas’s work goes a long way in helping remedy some of these problems, but there are still many holes in Druschetzky’s biography and thematic catalogue. Wienmann and Sas were only able to piece together some of his life and each scholar only works with a subset of Druschetzky’s output.
The New Grove entry was my catalyst to the most recent major source on
Druschetzky – Frame’s doctoral dissertation “The Harmoniemusik of Georg Druschetzky (1745-1819).” This work includes a biography of Druschetzky, pieced together from the various documents that give hints to the composer’s activities and whereabouts, augmenting the work of Weinmann and Sas. When Frame examines Druschetzky’s compositions, he places the focus squarely on the Harmoniemusik, which was the composer’s largest genre of output. Frame’s work is published in two volumes, the first
12 Ágnes Sas, “Chronology of Georg Druschetzki's works preserved in his estate,” Studia musicologica
Academiae Scientiarum Hungaricae 31(1-4): 161.
6including biographical and background information, with the second consisting of handwritten editions of selected works. Volume one includes a thematic catalogue, which divides all of the manuscripts at Frame’s disposal into five, six, seven, and eightpart partitas, along with his concert music, arrangements, and other miscellaneous works. The thematic catalog lists key, instrumentation, movement titles, meters, the library where the manuscript can be found, and the opening melodic material to help identify each piece. It is from Frame’s work that the claim of a missing overture from Druschetzky’s arrangement of The Magic Flute was first noted.
There are other research projects that have not directly focused on the work of
Druschetzky but which hold some significance in terms of information related to the era, his associates, or performance practices. A 1971 dissertation by Saul James Kurtz placed wind chamber music in the context of the larger musical world, and the culmination of his research resulted in a lengthy catalog of wind chamber music including an extensive list of works by Druschetzky. Two of the works that are the focus of this dissertation are absent from his research and, considering that his advisor was Himie Voxman, it is likely the works became part of the Voxman archives after 1971.13
A more recent dissertation by László Marosi, A History of Hungarian Military
Music from 1741 to 1945, examined the history of Hungarian military music over a twohundred-year period that encompasses the life of Druschetzky, among other composers. Druschetzky is mentioned in a number of instances specifically related to
13 Saul James Kurtz, “A Study and Catalog of Ensemble Music for Woodwinds Alone or with Brass from ca. 1700 to ca. 1825” (Ph.D. diss., University of Iowa, 1971), 107-108.
7positions he held and his connections to the works of Haydn and Mozart.14 A further study by Mikolaj Rykowski sought to find unique Czech or Moravian compositional traits in the chamber music of that era. Rykowski examined the works of Frantisek Krommer, Joseph Fiala, and Georg Druschetzky, making sure to separate the Viennese elements from those of more Czech or Moravian origin.15
Specifically related to the Partitta, there are several important sources that document the use of basset horns in Harmoniemusik of the era. Research by Nicholas Shackleton, Robert Sebesta, and Eric Hoeprich help explain why and how Druschetzky used a basset horn trio in his Partitta. There are also a number of modern recordings that help document the importance of Harmoniemusik in its various combinations in the late eighteenth and early nineteenth centuries, Georg Druschetzky’s role in that tradition, and performance practices of the era.
14 László Marosi, “A History of Hungarian Military Music from 1741 to 1945” (Ph.D. diss., Florida State University, 2002).
15 Mikolaj Rykowski, “Cantabile, wit and fluency: Czech and Moravian Harmoniemusik at the time of the
blossoming of Habsburgian musical culture,” In Altamusica:Eine Publikation der Internationalen Gesellschaft zur Erforschung und Förderung der Blasmusik, No. 26, 361-368 (Tutzing, Germany: Hans
Schneider, 2008).
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CHAPTER 2
GYORGY DRUSCHETZKY AND HARMONIEMUSIK
Druschetzky’s Life and Music
Prominent composers from Vienna to Bohemia worked to make their music available as arrangements for the Harmonie ensemble and, while Gyorgy Druschetzky is not a household name in the world of music history when compared to wind band arrangers such as Triebensee, Wendt, and Sedlak, his contribution to early wind band repertoire was substantial and worthy of examination. The New Grove Dictionary of Music and Musicians contains a small entry on his life and exploits, noting that he was born in West Bohemia (modern day Czech Republic) on the 7th of April 1745, and died in 1819. The entry notes that he played oboe and regimental drums, was a composer and conductor (noting the title of his first symphony), was well-travelled around Bohemia, and that his primary output was in the area of Harmoniemusik.16 However, the entry fails to note a significant work in the category of Harmoniemusik by Druschetzky.
Weinmann’s larger body of research does not provide any concrete documentation of Druschetzky’s birthplace but, knowing that he was born in Bohemia, Weinmann hypothesized that the nearby town of Druzec (a town bearing an alternative spelling of his surname) would be a likely candidate. This was the best guess of his birthplace until Frame was able to uncover paperwork that placed Druschetzky’s birth and baptism in the town of Jemniky.17
16 Weinmann and Frame 17 Frame, 13.
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The New Grove has the task of covering the whole of western music, and
Druschetzky’s life garners a small section of this total work. While this should not be considered a direct criticism, given the many practical concerns of collecting information on this scale, it does leave many holes in Druschetzky’s biography, which could also show the difficulty in piecing together gaps in his life, particularly since documentation was inconsistent or may have been lost. For instance, one compelling detail of his life, omitted from the entry, deals with his time as a court timpanist in Linz (Austria).18 With most composers of Harmoniemusik being wind players, it is notable that he was also an accomplished percussionist in an era of very little percussion composition.
Documentation presented in Frame’s dissertation includes minimal information on Druschetzky’s youth, but an important point does note his early music education from age fourteen to seventeen under the instruction of acclaimed Dresden oboist Antonio Besozzi, ending around the same time his military service began. Druschetzky served as a military musician during the Seven Years’ War between Saxony and Prussia and was able to rise to the rank of bandmaster (Pfeiffer) after only five years and six months of service. This experience, along with the rest of his military music career, would set him up to be well-versed in the compositional needs of the Harmonie ensemble.19 Frame pieces together Druschetzky’s various placements through his military career, taking special care to provide the necessary documentation, which is something he notes as an issue with Weinmann’s research.
