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Olson, B. M .,M . M. The Ohio State University 1992 D. M. A. Committee Approved by C. R. Weait Co - Adviser J. M. Pyne C. J. Kirchhoff Co - Adyte^r School orMusic L. L. Gingerich Copyright by Jeffrey K. Olson 1992 VITA November 1,1962 .................................... Bom - Freeport, Illinois 1985 ......................................................... B.M., The University of Wisconsin - Madison 1987 - 91 ................................................. Graduate Administrative Associate, The Ohio State University School of Music 1987 - present ....................................... Clarinetist, ProMusica Chamber Orchestra, Columbus, Ohio 1989 - 91 ................................................. Personnel Manager and Orchestra Librarian, ProMusica Chamber Orchestra, Columbus, Ohio 1991 - present ......................................... Private Clarinet Instructor, Shelby Ohio and The Richland Academy of the Arts, Mansfield, Ohio FIELDS OF STUDY Major Field: Music ii TABLE OF CONTENTS VITA.................................................................................................................................. ii LIST OF PLATES .......................................................................................................... iv INTRODUCTION ............................................................................................................. 1 CHAPTER PAGE I. HARMONIEMUSIK............................................................................. 3 II. FRANZ VINZENZ KROMMER ......................................................... 9 III. THE HARMONIEMUSIK OF FRANZ VINZENZ KROMMER .... 14 IV. PARTITA IN Eb, OPUS 71 ................................................................. 29 V. EDITING OPUS 7 1 ............................................................................ 35 VI. FRANZ VINZENZ KROMMER: PARTITA IN Eb, Op. 71 EDITED BY JEFFREY K. OLSON, 1992 ..................................... 55 APPENDIX: COMPREHENSIVE LIST OF EDITORIAL CHANGES................. 182 BIBLIOGRAPHY............................................................................................................. 199 LIST OF PLATES PLATE PAGE I. Title Page from Harmonie. 7th Suite. (Paris: Dufaut et Dubois, 18 26) ............................................................... 21 iv INTRODUCTION Franz Vinzenz Krommer (1759 - 1831) was among the leading composers of "harmoniemusik,” a genre of music scored for pairs of wind instruments which was popular during the late 18th and early 19th centuries. Krommer composed at least 33 works for the harmonie ensemble, thirteen of which were published during his lifetime. For various reasons, the harmoniemusik tradition lost its popularity after the first decades of the 19th century, and no new editions of Krommer’s harmoniemusik compositions were published, until the twentieth century, after about 1826. Interest in the harmoniemusik tradition has recently been renewed, thanks in part to the work of such scholars as Roger Hellyer and David Whitwell. Because much of this material still exists only in manuscript editions or copies of the original 18th century parts, usually without a score, there appears to be the need for new, critical editions of harmoniemusik. The purpose of this document is to provide a critical and historically accurate edition of Krommer’s Partita in Eb. Op. 71. for 2 Oboes, 2 Clarinets, 2 Horns, 2 Bassoons and Contrabassoon. The study contains a brief discussion of the history of the harmoniemusik tradtion in Europe, including the social and cultural activities of the ensemble. Also included is a biography of Franz Vinzenz Krommer. The circumstances surrounding the composition and publication of Krommer’s harmoniemusik are discussed in detail. The text also contains a discussion of the editing process, including the most important issues adckessed in the preparation of the 1992 edition of opus 71. 1 harmoniemusik tradition in Europe, including the social and cultural activities of the ensembles. Central to this discussion is a study of the life of Franz Vinzenz Krommer, with particular attention to circumstances surrounding the composition and publication of Krommer’s harmoniemusik. The text also contains a discussion of the editing process, including the most important issues addressed in the preparation of the 1992 edition of opus 71. The 1992 score is based on two contemporary editions: a published edition by Dufaut et Dubois (Paris) dating from 1026, and a manuscript set of parts obtained from National Library in Vienna, which probably dates from between 1794 and 1606. It is hoped that the 1992 edition of opus 71 will be a valuable contribution to the wind ensemble repertoire. Chapter I HARMONIEMUSIK The term "harmoniemusik” describes a genre of chamber music dating from the late eighteenth and early ninteenth centuries which was scored for a small band containing pairs of wind instruments.1 The ensembles which performed this type of music were called harmonien, and such emsembles became an important peal of the musical life of the royal courts in Europe from about 1760 to 1837.2 "Partita” and "Harmonie” were commonly used as titles for original compositions for the harmonie. Neither of these titles indicates the instrumentation of a composition, nor the numbers or forms of the movements contained within a work. Most "Harmonien” or "Partitas,” however, were multi-movement works, usually in a four movement scheme, and employing the important musical forms of the classical period.3 The harmonie had its early roots in music performed in the French courts. In France there had been an existing tradition of music scored for a quartet consisting of pairs clarinets and horns. At some point during the mid-eighteenth century first one, then a pair ' Don M. Randel, “Harmonie,” The New Harvard Dictionary of Music (Cambridge, Mass. : The Belknap Press of Harvard University Press, 1986), p. 365. * Roger Hellyer, “ ‘Harmoniemusik’: Music for Small Wind Band in the Late Eighteenth and Early Ninteenth Centuries” (Ph.D. dissertation, Oxford University, 1973), p. 3. 3 David Whitwell, “Franz Krommer: Early Wind Master ” Journal of Band Research X/2 (spring 1974), p. 23; Hellyer, pp. 7 -9 . 3 4 of bassoons, were added to this combination as bass instruments and the ensemble evolved into a sextet, containing pairs each of clarinets, horns and bassoons.4 This . tradition of music is discussed in an essay on orchestration by Valentin Roeser, who was a musician in the service of the Prince of Monaco. Dating from 1764, the document is titled "ESSAI / D’INSTRUCTIOM. / A I’usage de ceux qui Composeut pour / LA CLARINETTE ET LE COR. / Avec des Remarque sur I’Harmonie et des Exemples a deux Clarinettes, / deux Cors et deux Bassons.”5 The “First Part” of Roeser s essay is a discussion concerning the use of the clarinet in chamber music. The “Second Part” discusses the treatment of the horn. Following the disscussions about each instrument, Roeser supplies three pages of musical examples, showing technuques for the orchestration of music composed for the combination of two clarinets and two horns. The last two pages of the essay are examples of music composed for the “harmonie,” written for pairs each of clarinets, horns and bassoons. Because they occur together in the same essay, it seems that the music for two clarinets and two horns, and the sextet with pairs of clarinets, horns and bassoons, were closely related ensembles in France during the 1760’s. Two of the French courts known to have employed full time sextets in this combination were