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Performance Editions of Three Works for Winds by Gyorgy Druschetzky
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. -
Diplomats As Musical Agents in the Age of Haydn
HAYDN: The Online Journal of the Haydn Society of North America Volume 5 Number 2 Fall 2015 Article 2 November 2015 Diplomats as Musical Agents in the Age of Haydn Mark Ferraguto Follow this and additional works at: https://remix.berklee.edu/haydn-journal Recommended Citation Ferraguto, Mark (2015) "Diplomats as Musical Agents in the Age of Haydn," HAYDN: The Online Journal of the Haydn Society of North America: Vol. 5 : No. 2 , Article 2. Available at: https://remix.berklee.edu/haydn-journal/vol5/iss2/2 This Work in Progress is brought to you for free and open access by Research Media and Information Exchange. It has been accepted for inclusion in HAYDN: The Online Journal of the Haydn Society of North America by an authorized editor of Research Media and Information Exchange. For more information, please contact [email protected]. 1 Ferraguto, Mark "Diplomats as Musical Agents in the Age of Haydn." HAYDN: Online Journal of the Haydn Society of North America 5.2 (Fall 2015), http://haydnjournal.org. © RIT Press and Haydn Society of North America, 2015. Duplication without the express permission of the author, RIT Press, and/or the Haydn Society of North America is prohibited. Diplomats as Musical Agents in the Age of Haydn by Mark Ferraguto Abstract Vienna’s embassies were major centers of musical activity throughout the eighteenth and early nineteenth centuries. Resident diplomats, in addition to being patrons and performers, often acted as musical agents, facilitating musical interactions within and between courts, among individuals and firms, and in their private salons. Through these varied activities, they played a vital role in shaping a transnational European musical culture. -
Paul Anton Stadler
Liszt Ferenc Zeneművészeti Egyetem 28. számú művészet- és művelődés- történeti tudományok besorolású doktori iskola PAUL ANTON STADLER (1753–1812) Egy gazdag művészi pálya tapasztalatainak összegzése a 18–19. század fordulóján SZITKA RUDOLF TÉMAVEZETŐ: PAPP MÁRTA DLA DOKTORI ÉRTEKEZÉS 2012 I Tartalomjegyzék Tartalomjegyzék………………………………………………………….... I. Bevezető…………………………………………………………………..III. I. Fejezet. Hangszertörténeti áttekintés………………………………………………...1. A chalumeau…………………………………………………………...2. A klarinét kialakulása, építői és irodalma……………………………..5. II. Fejezet. Paul Anton Stadler, a klarinétvirtuóz…………………………………….....9. Két testvér egy szólamban (1753–1782)……………………………....9. Stadler és Mozart közös tíz éve (1781–1791)………………………..14. Esz-dúr szerenád (K. 375)……………………………………….15. Gran Partita (K. 361)…………………………………………….16. Esz-dúr trió (K. 498)……………………………………………..18. A-dúr klarinétkvintett (K. 581)…………………………………..20. Stadler európai körútja (1791–1796)…………………………………20. Aktív nyugdíjas évek: kevesebb koncert, több elméleti összegzés (1796–1812).…………....30. III. Fejezet. Theodor Lotz szerepe Anton Stadler művészi pályafutásában………........33. „Stadler klarinét vagy Lotz klarinét?”………………………………..33. A pozsonyi Batthyány zenekar……………………………………….34. A Lotz-féle hangszerek: klarinét…….……………………………….36. A basszetklarinét leírása korabeli dokumentumokban……………….38. A basszetkürt és a basszetklarinét dilemmája.………………………..45. Basszetkürtök alkalmazása Mozart műveiben………………………..47. Lotz basszetkürtjei…………………………………………………....49. Lotz hatása kortársaira………………………………………………..52. -
Haydn’S Creation and Enlightenment Theology
Haydn’s Creation and Enlightenment Theology MARK BERRY AYDN’S TWO GREAT ORATORIOS, The Creation and The Seasons (Die Schöpfung and Die Jahreszeiten) stand as monuments—on either side of the year 1800—to the Enlightenment and to the Austrian Enlightenment in particular. This is not to claim H “ ”— that they have no connection with what would often be considered more progressive broadly speaking, romantic—tendencies. However, like Haydn himself, they are works that, if a choice must be made, one would place firmly in the eighteenth century, “long” or otherwise. The age of musical classicism was far from dead by 1800, likewise the “Age of Enlightenment.” It is quite true that one witnesses in both the emergence of distinct national, even “nationalist,” tendencies.1 Yet these intimately connected “ages” remain essentially cosmopolitan, especially in the sphere of intellectual history and “high” culture. Haydn’s oratorios not only draw on Austrian tradition; equally important, they are also shaped by broader influence, especially the earlier English Enlightenment, in which the texts of both works have their origins. The following essay considers the theology of The Creation with reference to this background and, to a certain extent, also attempts the reverse, namely, to consider the Austrian Enlightenment in the light of a work more central to its concerns than might have been expected. Composers have always been subject to intellectual influences from without the strictly musical realm, even if this is not an object of inquiry to which great attention has always been devoted. The most cursory comparison of, say, texts set by Bach and those by Haydn would note a difference in intellectual milieu. -
The Clarinet Choir Music of Russell S
Vol. 47 • No. 2 March 2020 — 2020 ICA HONORARY MEMBERS — Ani Berberian Henri Bok Deborah Chodacki Paula Corley Philippe Cuper Stanley Drucker Larry Guy Francois Houle Seunghee Lee Andrea Levine Robert Spring Charles West Michael Lowenstern Anthony McGill Ricardo Morales Clarissa Osborn Felix Peikli Milan Rericha Jonathan Russell Andrew Simon Greg Tardy Annelien Van Wauwe Michele VonHaugg Steve Williamson Yuan Yuan YaoGuang Zhai Interview with Robert Spring | Rediscovering Ferdinand Rebay Part 3 A Tribute to the Hans Zinner Company | The Clarinet Choir Music of Russell S. Howland Life Without Limits Our superb new series of Chedeville Clarinet mouthpieces are made in the USA to exacting standards from the finest material available. We are excited to now introduce the new ‘Chedeville Umbra’ and ‘Kaspar CB1’ Clarinet Barrels, the first products in our new line of high quality Clarinet Accessories. Chedeville.com President’sThe EDITOR Rachel Yoder [email protected] ASSOCIATE EDITOR Dear ICA Members, Jessica Harrie [email protected] t is once again time for the membership to vote in the EDITORIAL BOARD biennial ICA election of officers. You will find complete Mitchell Estrin, Heike Fricke, Denise Gainey, information about the slate of candidates and voting Jessica Harrie, Rachel Yoder instructions in this issue. As you may know, the ICA MUSIC REVIEWS EDITOR bylaws were amended last summer to add the new position Gregory Barrett I [email protected] of International Vice President to the Executive Board. This position was added in recognition of the ICA initiative to AUDIO REVIEWS EDITOR engage and cultivate more international membership and Kip Franklin [email protected] participation. -
Playing with Art: Musical Arrangements As Educational Tools in Van Swieten’S Vienna
Playing with Art: Musical Arrangements as Educational Tools in van Swieten’s Vienna WIEBKE THORMÄHLEN We have the honour of announcing that the Creation, which was re- cently issued in score, may now be had not only in quintets for 2 vio- lins, 2 violas and violoncello arranged by Hrn. Anton Wranizky, but also for the klavier or fortepiano with all vocal parts arranged by Hrn. Sigmund Neukomm with every precision, energy and great fidelity to the beauties and originality of the full score. 342 Wiener Zeitung In March 1800, the Viennese publisher Artaria is- sued this announcement in the Wiener Zeitung, offering Joseph Haydn’s Creation arranged for string quintet. It is clear in a letter Haydn sent to Georg August Griesinger in October 1801 that the composer ap- proved of this arrangement: he applauded Anton Wranitzky’s skill in producing it and suggested that he should be invited to arrange The Seasons as well.1 What is more, Haydn’s letter shows that the question The epigraph is from the Wiener Zeitung, 24 (1800); quoted and trans. in H. C. Robbins Landon, Haydn: Chronicle and Works: The Years of “The Creation,” 1796–1800 (Bloomington: Indiana University Press, 1977), 542. 1 “As far as the arrangement of the Seasons for quartet or quintet is concerned, I think that Herr Wranizky, (Kapellmeister) at Prince Lobkowitz, should receive the pref- erence, not only because of his fine arrangement of the Creation, but also because I am The Journal of Musicology, Vol. 27, Issue 3, pp. 342–376, ISSN 0277-9269, electronic ISSN 1533-8347. -
The Earliest Music for Bass Clarinet Pdf
THE EARLIEST BASS CLARINET MUSIC (1794) AND THE BASS CLARINETS BY HEINRICH AND AUGUST GRENSER Albert R. Rice C.I.R.C.B. - International Bass Clarinet Research Center THE EARLIEST BASS CLARINET MUSIC (1794) AND THE BASS CLARINETS BY HEINRICH AND AUGUST GRENSER by Albert R. Rice For many years the bass clarinets by Heinrich Grenser and August Grenser made in 1793 and 1795 have been known. What has been overlooked is Patrik Vretblad’s list of a concert including the bass clarinet performed in 1794 by the Swedish clarinetist Johann Ignaz Strenensky.1 This is important news since it is the earliest documented bass clarinet music. All other textbooks and studies concerning the bass clarinet fail to mention this music played in Sweden. Although it is not definitely known what type of bass clarinet was played, evidence suggests that it was a bassoon-shaped bass clarinet by Heinrich Grenser. This article discusses the Stockholm court’s early employment of full time clarinetists; its players and music, including the bass clarinet works; the bass clarinets by Heinrich and August Grenser; and conclusions. Stockholm Court Orchestra Stockholm’s theater court orchestra employed seven clarinetists during the eighteenth century, including the famous composer and clarinetist Bernhard Henrik Crusell: Christian Traugott Schlick 1779-1786 August Heinrich Davidssohn 1779-1799 Georg Christian Thielemann 1785-1812 Carl Sigimund Gelhaar 1785-1793 Johann Ignaz Stranensky 1789-18052 Bernhard Henrik Crusell 1793-1834 Johan Christian Schatt 1798-18183 In 1779, Schlick and Davidssohn appeared as extra players at the Stockholm theater in a concert of the music academy. -
Beethoven's Expanding Orchestral Horizons, 1795-1800 Theodore Albrecht Haydn's Concert in the Kleiner Redoutensaal, December
Beethoven’s Expanding Orchestral Horizons, 1795-1800 Theodore Albrecht Once Beethoven had tasted his initial success before the Viennese Tonkünstler-Societät’s public (as opposed to salon concerts of the nobility) on March 29-30, 1795, he began planning an Akademie of his own. For a typical potpourri program, he would need a new concerto, a symphony, plus works by other composers, and at least one or two vocal works. Even though he would need to get further use from his Piano Concerto in B-flat, he already had a Concerto in C Major in the works. He was also sketching a Symphony, likewise in C major. He worked on it, periodically, through 1795 and 1796, but it never progressed very far.1 Haydn’s Concert in the Kleiner Redoutensaal, December 18, 1795 Beethoven’s next public appearance playing his Concerto in B-flat was at a concert given by Joseph Haydn, primarily to introduce three of the six Symphonies (recently composed in London) to Viennese audiences on December 18, 1795. The concert took place in the Kleiner Redoutensaal, the smaller of the Imperial Ballrooms, often used for chamber music performances. The identity of the orchestra was not specified,2 but given the location---that is, not in the Burgtheater itself---and Griesinger’s mention that the Kärntnertor Theater’s orchestra under Wranitzky had performed Haydn symphonies,3 it is possible that this ensemble was in fact the orchestra employed. If so, Beethoven would probably again have had a positive experience in making music with Wranitzky. 1Beethoven did not use bound sketchbooks before the so-called “Grasnick 1 Sketchbook,” begun in the middle of 1798. -
The String Quintet in Late Eighteenth-Century Vienna
ART, EDUCATION AND ENTERTAINMENT: THE STRING QUINTET IN LATE EIGHTEENTH-CENTURY VIENNA A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfilment of the Requirements for the Degree of Doctor of Philosophy by Wiebke Thormählen January 2008 © 2008 Wiebke Thormählen ART, EDUCATION AND ENTERTAINMENT: THE STRING QUINTET IN LATE EIGHTEENTH-CENTURY VIENNA Wiebke Thormählen, Ph.D. Cornell University 2008 This dissertation explores the role of chamber music within Viennese enlightened theories of social and national education (Bildung). As such it confronts the apparent contradiction between music's status as a fine art and music's vibrant presence and vital role within the city's social calendar. Chapter 1 explores enlightened theories of art's role in education as part of the larger demands of forming a unified society, which troubled the European nations towards the end of the eighteenth century. Turning to the repertoire of the mostly unknown string quintets circulating in Vienna in the 1780s and 90s as a case study, Chapter 2 illustrates how an understanding of music as an essentially bildend (formative) social practice infiltrated the compositional make-up; I argue further that composers were writing within a culture that appreciated first and foremost music’s socially educating function. Chapter 3 focuses on music's entertaining function, providing both social documentation and philosophical rationale for the claim that entertainment was an integral aspect of the process of Bildung. Chapter 4 assesses the relevance of musical arrangements for the chamber within music's status as art, illustrating that music's unique promise for sensual experience is as instrumental to music's artistic potential as its potential for active engagement. -
Establishing Narratives for Haydn and Mozart in the Second and Third Decades of the Nineteenth Century
This is a repository copy of “No kind of reading is so generally interesting as biography”: Establishing Narratives for Haydn and Mozart in the Second and Third Decades of the Nineteenth Century. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/170464/ Version: Published Version Article: Keefe, S.P. (2020) “No kind of reading is so generally interesting as biography”: Establishing Narratives for Haydn and Mozart in the Second and Third Decades of the Nineteenth Century. 19th-Century Music, 44 (2). pp. 67-79. ISSN 0148-2076 https://doi.org/10.1525/ncm.2020.44.2.67 © 2020 by The Regents of the University of California. Reproduced in accordance with the publisher's self-archiving policy. For re-use permissions, please contact the publisher. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ “No kind of reading is so generally interesting as biography”: Establishing 2020 17 November user on Sheffield of University The by http://online.ucpress.edu/ncm/article-pdf/44/2/67/434348/ncm_44_2_067.pdf Downloaded from Narratives for Haydn and Mozart in the Second and Third Decades of the Nineteenth Century SIMON P. -
(Eg Phd, Mphil, Dclinpsychol) at Th
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. • The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. • When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Theodor Lotz A Biographical and Organological Study Melanie Piddocke PhD The University of Edinburgh 2011 DECLARATION I hereby declare that this work is original and has not been previously submitted in whole or part by me or any other person for any qualification or award. I further certify that due acknowledgement is given to the sources of information and ideas derived from the original scholarship of others, and that to the best of my ability all scholarly conventions and proprieties have been observed in the use, citation and documentation of these sources. (Signed) (Date) 26/06/2012 Abstract This dissertation is a comprehensive study of the life and work of the Viennese woodwind instrument maker Theodor Lotz. Lotz is central to many of the most significant developments in woodwind instrument manufacture and compositions of late 18th century Vienna, and is associated with some of the greatest players and composers of the day. -
The Works of Wa Mozart for the Basset Horn
THE WORKS OF W. A. MOZART FOR THE BASSET HORN: AN ANNOTATED BIBLIOGRAPHY INCLUDING A CATALOGUE DISCUSSION AND REVIEW OF MOZART'S WORKS UTILIZING BASSET HORN AND BASSET CLARINET. Keith Northover Professor Mitchell Estrin Honors Research Project University of Florida, November 30, 2009 2 As an aspiring clarinetist with a fascination for all types of clarinets or auxiliary clarinets, it would be imperative to study and research about the clarinet's history including its close relative, the basset horn. As a relatively young instrument to the orchestra, the clarinet began its development around the later part of the 18 th century. Early in its development, instrument makers would create and experiment with different shapes and sizes. As developers wanted bigger instruments, the technological inadequacies of the time influenced the designs of the larger clarinets, then called basset horns. Mozart, an influential and important composer, first heard clarinets most likely during his stay in London in 1764, in Milan in 1771 , and Mannheim in 1777, but not in Salzburg because there were none in his home city. I After hearing and discovering several virtuosi performing on the clarinet, the basset hom, and basset clarinet, Mozart became highly motivated and inspired to write numerous works involving these • instruments. This project attempts to discuss and review all of the works that Mozart composed utilizing the basset hom and the basset clarinet. First, one must have a discussion on what makes a basset horn. The basset horn is a clarinet pitched in F, which is a fourth below that of the normal B-flat soprano clarinet.