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Bassoon Playing in Perspective Character and Performance Practice from 1800 to 1850

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Bassoon Playing in Perspective Character and Performance Practice from 1800 to 1850 Áurea Domínguez Moreno Bassoon PerspectivePlaying in Character and Performance Practice from 1800 to 1850 Department of Philosophy, History Culture, and Art Studies Faculty of Arts University of Helsinki Áurea Domínguez Moreno Bassoon Playing in Perspective Character and Performance Practice from 1800 to 1850 ACADEMIC DISSERTATION To be publicly discussed, by due permission of the Faculty of Arts at the University of Helsinki, in auditorium XV, University main building on 14 December 2013 at 10 o’clock. Helsinki, 2013 Áurea Domínguez Moreno BASSOON PLAYING IN PERSPECTIVE Character and Performance Practice from 1800 to 1850 Studia musicologica Universitatis Helsingiensis, 26 Helsinki, 2013 Studia musicologica Universitatis Helsingiensis, 26 Eero Tarasti, general editor © Áurea Domínguez Moreno 2013 ISSN 0787-4294 ISBN 978-952-10-9443-9 (Paperback) ISBN 978-952-10-9444-6 (PDF) Layout and cover design: Áurea Domínguez Moreno Front cover picture: Savary bassoon c. 1828 (made by the author) Back cover: Neukirchner (1840: Table II) Printed by Hakapaino Oy, Helsinki 2013 vii Abstract This dissertation is a theoretical study of bassoon performance practice in the first half of the nineteenth century, analysing the temporal changes that took place in the different musical traditions of France, Germany and Britain. It emphasizes methodological problems inherent in historical performance studies in general, as well as those specifically related to nineteenth-century music, from the performer’s point of view. Moreover, woodwind performance practice finds itself lagging behind keyboard or string instruments as a relevant research topic. The research is based on the analysis of bassoon performance practice from a double perspective, combining research on historical written sources with a practical experimentation and application of data on period instruments. As a result, the conclusions derived from the investigation have ample and immediate practical applications. The thesis theoretical framework is interdisciplinary, bringing together different questions on history and music theory. This research seeks to be a new approach to understanding bassoon performance practice, in this historical period and in its relationship with the present-day practice of nineteenth-century repertoire. Furthermore, by using the bassoon as a case study, the research gives some hints that may be used to understand performance practice in a wider context. The most important subject that gives structure to this thesis comes from what has been a constant presence in all historical sources. This is the concept of character as it is understood by arts in the early nineteenth century. Hence, character is used in the research to give unity to the analysis of the different parameters like tempo, articulation, ornamentation, and even the performance of repertoire in general. Therefore character lies at the core of the whole performance in this research. The conclusion of this thesis is based on research which shows that performance in the first half of the nineteenth century finds its balance between the influences of some baroque practice, and the germ of some ideas, marked by a positivist mentality, that will fully develop by the end of the century. Somehow, the bassoon—like other woodwind instruments—also finds itself in a similar position. It is undeniable, according to the data, that singing and its new techniques had a great influence as the main source of inspiration for every performer. However, the period studied witnesses a new trend whereby bassoonists start to look into how string players developed new features that become personal marks, especially, in virtuoso performance. viii Acknowledgments I would never have been able to write my doctoral dissertation without the help and support of the kind people around me, to only some of whom it is possible to give particular mention here. First and foremost I offer my sincerest gratitude to my supervisors, Eero Tarasti, Alfonso Padilla and Luca Chiantore, who have supported me throughout my thesis with patience and knowledge whilst allowing me the room to work in my own way. I would like to thank Eero for his continuous support in my research. His open-mindedness and wide knowledge have been priceless to me. I am also indebted to Alfonso for the useful comments, remarks and engagement through the learning process of the thesis to make my doctoral experience productive and stimulating. Furthermore, I wish to express my deep and sincere gratitude to Luca. It has been an honor to be his first doctoral student. The joy and enthusiasm he has for his research was contagious and motivational for me. I truly appreciate all his contributions of time and ideas to enlarge my vision of research, providing coherent answers to my endless questions. I would like to show my gratitude to the official reviewers of this thesis; Professor Clive Brown of University of Leeds and Dr. Josep Borràs of Escola Superior de Música de Catalunya (Barcelona). Their valuable comments and detailed review were extremely valuable in the final phase of the study. In addition to my supervisors, I am heartily thankful to Donna Agrell of Schola Cantorum Basiliensis, for her enthusiasm, and encouragement. I would not have been able to do the research and achieve learning in the same manner without her help and support. I would also like to extend my thanks to the Schola Cantorum Basiliensis for academic and technical support. Moreover, research work could hardly be successful without the help of skilled personnel in the libraries and archives. Assistance provided by Kathrin Menzel of the Schola Cantorum Basiliensis microfilm library was greatly appreciated. Besides, I would like to direct my grateful thanks to the personnel of Kansallis Kirjasto (The National Library of Finland), Musik och Teaterbiblioteket vid Statens Musikverk (Music Library of Sweden), Vera-Oeri Library of the Basel Musik-Akademie, Universitäts bibliothek Basel, Musik-bibliothek Bern, Universitäts Bibliothek Bern, Musikwissenschaftliches Institute (Zürich), British Library, Biblioteca del Real Conservatorio de Música de Madrid, Biblioteca Nacional de Catalunya (Barcelona), Music & Arts Library Columbia University Library (New York), ix Österreichische National Bibliothek (Vienna), Bayerische Staatsbibliothek, Deutsche Staatsbibliothek, and Bibliothèque nationale de France. I thank Music & Arts Library, Columbia University for permission to include musical examples from their copy of the Theoretisch practische Anleitung zum Fagottspiel by Neukirchner. I also thank the British Library for permission to include musical examples from their copy of Die Kunst des Fagottbasens by Almenräder (British Library Board, h.1966) as a part of my dissertation. I offer my enduring gratitude to the faculty, staff and my fellow students at the Department of Musicology at the University Helsinki who have motivated me to continue my work in this field. Special thanks go to Grisell Macdonell, Clara Petrozzi, Rafael Junchaya, Mercedes Krapovickas, Camilo Pajuelo, Lina Navickaite for many inspiring discussions in the research seminar and Helsinki cafes and saunas. Furthermore, I am grateful to Irma Vierimaa, for helping me at any time and to Jaakko Tuohiniemi who helped me in countless ways in gaining my search material. I owe my deepest gratitude to the English language expert Pilar Rodas who had the task of correcting my English. Many thanks also to Jon Rake for the final language checking of my work. I gratefully acknowledge the financial support and generosity of Barrié de la Maza Foundation without which the present study could not have been completed. I would also like to thank the financial, academic, and technical support of the University of Helsinki. In addition, a thank you to Enrique Abargues, who introduced me to the bassoon and whose enthusiasm for the instrument had lasting effect on my career. Last, but by no means least, I offer my regards to my friends in all over Europe for their support and encouragement throughout, whether mentioned here or not. I would like to thank my friends, Laura Diaz, Carlota Garcia, Antonio Gonzalez Ferri, Diego Ares, Mike Rigby, Teresa Lawlor, Barbara Phillips, and many others for always being there for me. I am grateful to Jens Lindqvist who helped me tremendously. Finally, I wish to thank my parents and family in Galicia for their love, support and encouragement throughout my study. To them, I am eternally grateful. Helsinki, November 2013 Áurea Domínguez Moreno To Paz & Suso Acknowledgments viii Introduction 1 I. Aim of the research II. Hypothesis III. Theoretical contribution IV. Methods V. Thesis structure 1.History and State of the Art 17 1.1. Rethinking performance practice literature 1.2. Performance practice research \ 1.2.2. Diversity of European musical traditions 1.2.3. The problem of presentism 1.3. Performance through the instrument: Bassoon literature 2.Sources for Performance Practice Research 37 2.1. Methods and treatises ] of bassoon tutors 2.1.2. Main bassoon tutors 2.2. Basson and Fagott: \ 2.3. The reed: Organological or performative component? 3.Technical Issues of Bassoon Performance Practice 74 3.1 Sound and registers 3.2. Breathing 3.3. Embouchure 4.Character as an Interactive Relationship between Performer, Composer & Audience 102 4.1. Character in performance 4.2. Character of instruments 4.3. Bassoon’s character: The creation of its identity 5.Tempo 120 5.1. Character in tempo 5.2. Tempo terms ]!" 6.Articulation 137 #$% #'" #$**+ #/ 6.5. Accentuation ##< 7.Ornamentation 181 7.1. Character in ornamentation 7.2. Grace notes 7.2.1. Graces 7.2.2. Turns 7.3 Portamento = 7.3.2. Use and types of portamento =/ =>" 8.Performance 216 @" 8.2. Dynamics 8.3. Repertoire 8.4. Repertoire performance Conclusion 237 Bibliography 242 List of Musical Examples Example 2.2. Study #24. by Ozi Ex. 6.25. Different performances for Ex. 2.3. Study #2. by Willent-Bordogni syncopation Ex. 2.4. Prelude #18. by Berr Ex. 6.26. Steady performance of syncopation Ex. 2.5. Extract from study #4 by Fahrbach Ex. 6.27. Indication for the performance of after the opera L’elisir d’amore syncopation by Berr Ex.
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