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Franz Schubert's Chamber Music with Guitar: a Study of the Guitar's Role in Biedermeier Vienna Stephen Mattingly

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Franz Schubert's Chamber Music with Guitar: a Study of the Guitar's Role in Biedermeier Vienna Stephen Mattingly Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 Franz Schubert's Chamber Music with Guitar: A Study of the Guitar's Role in Biedermeier Vienna Stephen Mattingly Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC FRANZ SCHUBERT’S CHAMBER MUSIC WITH GUITAR: A Study of the Guitar’s Role in Biedermeier Vienna By STEPHEN MATTINGLY A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2007 Copyright © 2007 Stephen Mattingly All Rights Reserved The members of the Committee approve the treatise of Stephen Mattingly defended on March 26, 2007. ______________________________ Michael Buchler Professor Directing Treatise ______________________________ Nancy Rogers Outside Committee Member ______________________________ Bruce Holzman Committee Member ______________________________ Melanie Punter Committee Member ______________________________ Larry Gerber Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS The following organizations deserve special thanks for their material support of this project: the Presser Foundation for their generous grant to fund the recording and research of “Schubert’s Complete Chamber Music with Guitar”, the Vienna Schubertbund and the Schubert Institute of the United Kingdom for their assistance in areas of primary source materials and images, and the Gesellschaft der Musikfreunde in Wien for use of the painting Ballspiel in Atzenbrugg. Many individuals have inspired me and helped make my research possible. However, in brief words, I would like to personally thank Thomas Heck for his kind words of encouragement and brilliant insights into the Biedermeier era, Richard Long for offering multitudes of contextual information and access to his private collection, Bruce Holzman for his unyielding attention to detail, Michael Buchler for his assistance with Schenkerian analysis, and David Walker for sharing his impressive knowledge of guitar history and literature and offering his continued professional support. I would also like to thank my family for believing in me and the Tantalus Quartet for sharing the stage and the journey with me. Most of all, I would like to thank my wife for encouraging me with her unwavering devotion. iii TABLE OF CONTENTS List of Musical Examples ...................................................................................................... v List of Figures........................................................................................................................ vii Abstract .................................................................................................................................viii I – Schubert and the Guitar in Biedermeier Vienna: An Overview...................................... 1 II – Schubert and the Guitar: A Resource for Accompaniment and Composition ............... 17 III – Schubert’s Repertoire with Guitar ................................................................................. 45 IV – Schubert’s Vocal Works with Guitar Accompaniment ................................................. 51 V – Schubert’s Instrumental Works with Guitar Accompaniment and Parts ........................ 85 Conclusion – A Summary of Schubert’s Contributions to the Guitar ...................................100 Appendix A – A Timeline of Nineteenth-Century Guitar Methods..................................................101 Appendix B – Extant Nineteenth-Century Viennese Guitar Methods and Studies...........................102 Appendix C – Giuliani, “Studio per la Chitarra”, Op. 1: A Comparative Study .............................106 Appendix D – “Schubert’s ‘Terzetto’ for Three Male Voices and Guitar, D. 80” on principles of . the Edition and Interpretation, by Franz Eibner.........................................................108 Bibliography ..........................................................................................................................124 Biographical Sketch...............................................................................................................133 iv LIST OF MUSICAL EXAMPLES 1a: Etude No. 19 from Method for Guitar (1825) by Dionisio Aguado................................12 1b: Guitar and voice arrangement of “Wohin?” from “Die schöne Müllerin”......................12 1c: Original piano accompaniment from “Wohin?” ..............................................................13 2: Piano accompaniment and the guitar arrangement from “Andenken” ..............................14 3: Piano accompaniment and the guitar arrangement from “Heidenröslein” ........................15 4: Piano accompaniment and the guitar arrangement from “An die Musik”.........................15 5: Giuliani, Op. 120, No. 1.....................................................................................................39 6: Giuliani, Op. 120, No. 107.................................................................................................39 7: Giuliani, Op. 120, No. 2 and 7...........................................................................................39 8: Giuliani, Op. 120, No. 108.................................................................................................39 9: Excerpt from Quartetto, D. 96, mm. 38-41 .......................................................................41 10: Excerpt from “Die Nacht”, mm. 1-3................................................................................46 11: Excerpt from “Terzetto”, D. 80, mm. 8-10, 34-39, 63-69 ...............................................59 12: Excerpt from manuscript to “Terzetto”, D. 80, mm. 27-30.............................................61 13: Manuscript from “Terzetto”, D. 80..................................................................................62 14: Excerpt from manuscript to “Terzetto”, D. 80, mm. 24-26.............................................64 15: Schenkerian sketch of “Terzetto”, D. 80 .........................................................................67 16: Excerpt from “Geist der Liebe”, mm. 31-32 ...................................................................71 17: Excerpt from “Geist der Liebe”, mm. 45-46 ...................................................................72 18: First published edition of “Der Wanderer” with guitar accompaniment.........................79 19: Excerpt from first publication of “Ständchen” by J. Schulz............................................83 20: Excerpts from Noturno, Op. 21 and Quartetto, D. 96 .....................................................89 v 21: Excerpts from Noturno, Op. 21 and Quartetto, D. 96 ..................................................... 89 22: Excerpts from Noturno, Op. 21 and Quartetto, D. 96 ..................................................... 90 23: Atzenbrugg Dances, Op. 9, No. 2 (D. 365)...................................................................... 92 24: Excerpts from 15 Original Dances.................................................................................. 95 25: Idiomatic arpeggio passages from the Arpeggione Sonata.............................................. 99 26: Arpeggione’s long, sustained notes that are problematic on the guitar........................... 99 27: Compositional Process in Excerpts from Mauro Giuliani’s Op. 120 ..............................106 28: Melody with Alberti-bass in Giuliani’s Op. 120 .............................................................107 29: Repeated i Finger in Giuliani’s Op. 120..........................................................................107 30: Tremolo in Giuliani’s Op. 120.........................................................................................107 31: Comparison of the “Terzetto” manuscript and edition, mm. 8-10...................................112 32: Comparison of markings interpreted as decrescendo signs.............................................114 33: Sketch of bass motion and tonic prolongation in “Terzetto”, mm. 33-38 .......................116 34: Analysis of voice crossing in “Terzetto” .........................................................................118 35: Large scale bass motion in “Terzetto”, mm. 33-67 .........................................................120 36: Mid-level and lower-level analysis of bass arpeggiation in “Terzetto”...........................120 vi LIST OF FIGURES 1: Charade in Atzenbrugg by Leopold Kupelwieser (1821).................................................. 7 2: Ballspiel in Atzenbrugg by Ludwig Mohn (1820)............................................................. 8 3: The Outing, by Moritz von Schwind (c. 1820).................................................................. 9 4: Guitar by J. Staufer (1815) from the Vienna Schubertbund collection .............................21 5: Schubert composing at his desk.........................................................................................49 6: A Contemporary Portrait of Elise Gagernadl by Leopold Kupelwieser............................76 7: The Arpeggione from Vincenz Schuster’s method book...................................................98 vii ABSTRACT Centered in nineteenth-century Vienna, the Biedermeier era was characterized by intense political upheaval contrasted
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