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Unique Contributions for Oboe in the Classical Period: Jacques Christian Michel Widerkehr's Duos for Oboe and Piano And

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Unique Contributions for Oboe in the Classical Period: Jacques Christian Michel Widerkehr's Duos for Oboe and Piano And UNIQUE CONTRIBUTIONS FOR OBOE IN THE CLASSICAL PERIOD: JACQUES CHRISTIAN MICHEL WIDERKEHR'S DUOS FOR OBOE AND PIANO AND FRANÇOIS DEVIENNE'S SIX SONATAS FOR OBOE AND BASSO CONTINUO Angela N. Schindler, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS December 2006 APPROVED: Charles Veazey, Major Professor Deanna Bush, Minor Professor James Gillespie, Committee Member Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Schindler, Angela N., Unique Contributions for Oboe in the Classical Period: Jacques Christian Michel Widerkehr's Duos for Oboe and Piano and Franςois Devienne's Six Sonatas for Oboe and Basso Continuo. Doctor of Musical Arts (Performance), December 2006, 51 pp., 17 tables, 19 musical examples, references, 29 titles. Sonatas for oboe in the classical period are classified as 'solo sonatas.' These 'solo sonatas,' which originated in the baroque period, consist of a melody instrument and basso continuo. Solo sonatas for oboe, which account for a sizeable repertory in the baroque period, continued to be composed in the classical period but in the baroque style. The basso continuo setting for sonatas gradually disappeared toward the end of the period, developing into the duo sonata in which a solo instrument and piano played an equal role in presenting melodic material. While the fully developed classical sonata was written for piano alone, and duos for violin and piano and cello and piano, the sonatas for oboe did not make this transition. The duo sonatas for oboe and piano by Jacques Christian Michel Widerkehr are exceptions to the baroque style 'solo sonatas.' Widerkehr's sonatas are the only true 'duo sonatas' for oboe and piano written in the classical period. Franςois Devienne's sonatas deserve special recognition as the only 'solo sonatas' for oboe written predominantly in the classical style. In addition to presenting an overview of sonatas for oboe, biographical information on Widerkehr and Devienne, current state of research of Widerkehr's sonatas, changes in performance venue and instrumental design of the oboe, an examination of Widerkehr's Duos for Oboe and Piano in E Minor and C Major will follow. Examples of classical style elements and procedures are identified in each analysis with an emphasis on the duo setting. Devienne's Sonata in G Major, Op. 71, No. 1, serves as an example of his six oboe sonatas. Although the work is composed in a basso continuo setting, examples of classical style characteristics are identified in an analysis of the three movements. Copyright 2006 by Angela N. Schindler ii TABLE OF CONTENTS Page LIST OF TABLES.......................................................................................................... v LIST OF MUSICAL EXAMPLES ...................................................................................vi Chapter 1. INTRODUCTION ..................................................................................... 1 Sonatas for Oboe Jacques Christian Michel Widerkehr: Biography Widerkehr's Oboe Sonatas: Current State of Research Changes in Instrumental Design and Venue Terminology: Titles of Widerkehr’s Oboe Sonatas 2. ANALYSIS: WIDERKEHR OBOE SONATAS IN E MINOR AND C MAJOR .................................................................................................. 15 Sonata No. 1 in E Minor Overview First Movement, Allegro Sonata No. 1 in C Major Overview First Movement, Allegro Sonata No. 1 in E Minor: Second Movement, Menuetto Sonata No. 2 in C Major: Second Movement, Menuetto Sonata No. 1 in E Minor: Third Movement, Adagio Sonata No. 2 in C Major: Third Movement, Adagio Sonata No. 1 in E Minor: Fourth Movement, Allegro Sonata No. 2 in C Major: Fourth Movement, Rondo 3. FRANÇOIS DEVIENNE......................................................................... 37 Biography Devienne’s Oboe Sonatas: Overview Sonata in G Major, Op. 71, No. 1: First Movement, Allegro Brillante Sonata in G Major, Op. 71, No. 1: Second Movement, Adagio iii Sonata in G Major, Op. 71, No. 1: Second Movement, Adagio Sonata in G Major, Op. 71, No. 1: Third Movement, Rondo poco moderato 4. CONCLUSIONS .................................................................................... 49 BIBLIOGRAPHY ......................................................................................................... 50 iv LIST OF TABLES Page 1. Widerkehr, Sonata in E minor, movements, key, and form............................... 15 2. Widerkehr, Sonata in E minor, movement 1, sonata form ................................ 16 3. Widerkehr, Sonata in E minor, movement 1, sections, themes, instruments, and key.................................................................................................................... 20 4. Widerkehr, Sonata in C major, form and movements ....................................... 21 5. Widerkehr, Sonata in C major, movement 1, sonata form ................................ 22 6. Widerkehr, Sonata in C major, movement one, sections, themes, instruments, and key............................................................................................................. 23 7. Widerkehr, Sonata in E minor, movement 2, form............................................ 25 8. Widerkehr, Sonata in C major, movement 2, form............................................ 27 9. Widerkehr, Sonata in E minor, movement 3, form............................................ 29 10. Widerkehr, Sonata in C major, movement 3, form............................................ 31 11. Widerkehr, Sonata in E minor, movement 4, form............................................ 33 12. Widerkehr, Sonata in C major, movement 4, themes ....................................... 35 13. Devienne, Six Oboe Sonatas, movements, key, and tempo............................. 40 14. Devienne, Six Oboe Sonatas, movements, key, and tempo............................. 41 15. Devienne, Sonata in G Major, Opus 71, No. 1, movement 1, form................... 43 16. Devienne, Sonata in G Major, Opus 71, No. 1, movement 2, form................... 45 17. Devienne, Sonata in G Major, Opus 71, No. 1, movement 3, form................... 47 v LIST OF MUSICAL EXAMPLES Page 1. Widerkehr, Sonata in E minor, movement 1, measures 1-8 ............................. 16 2. Widerkehr, Sonata in E minor, movement 1, measures 117-124 ..................... 18 3. Widerkehr, Sonata in E minor, movement 1, measures 144-151 ..................... 19 4. Widerkehr, Sonata in C major, movement 1, measures 8-12 ........................... 22 5. Widerkehr, Sonata in C major, movement 1, measures 115-119 ..................... 23 6. Widerkehr, Sonata in E minor, movement 2, measures 36-60 ......................... 26 7. Widerkehr, Sonata in E minor, movement 3, measures 1-4 ............................. 30 8. Widerkehr, Sonata in C major, movement 3, measures 1-8 ............................. 31 9. Widerkehr, Sonata in C major, movement 3, measures 1-9 ............................. 32 10. Widerkehr, Sonata in C major, movement 3, measures 16, 18 ........................ 32 11. Widerkehr, Sonata in C major, movement 3, measures 56-61 ......................... 33 12. Widerkehr, Sonata in E minor, movement 4, measures 1-8 ............................. 34 13. Widerkehr, Sonata in E minor, movement 4, measures 76-78 ......................... 35 14. Devienne, Sonata in G Major, Opus 71, No. 1, movement 1, measures 1-4 .... 44 15. Devienne, Sonata in G Major, Opus 71, No. 1, movement 1, measures 8-10 ......................................................................................................................... 44 16. Devienne, Sonata in G Major, Opus 71, No. 1, movement 2, measures 1-4 .... 45 17. Devienne, Sonata in G Major, Opus 71, No. 1, movement 2, measures 15-16 ......................................................................................................................... 46 18. Devienne, Sonata in G Major, Opus 71, No. 1, movement 2, measures 20 ..... 46 19. Devienne, Sonata in G Major, Opus 71, No. 1, movement 3, measures 1-9 .... 48 vi CHAPTER 1 INTRODUCTION Of the over 3000 'solo sonatas' written for oboe in the classical period,1 only one set of sonatas incorporate the fully classical style of multiple affections, slow harmonic rhythm, periodic phrase structure, lyrical melodies of opera arias, Alberti bass, and the thorough integration of musical ideas between oboe and piano. The Three Duo Sonatas for Oboe and Piano composed by Jacques Christian Michel Widerkehr in 1794 are the only extant sonatas specifically written for oboe and piano which reflect the true 'duo' setting. Widerkehr's sonatas are exceptions to these 'solo sonatas' from the classical period which continued to be written in the baroque style with a basso continuo setting. While the six sonatas for oboe and basso continuo, Opus 70, Nos. 1-3 and Opus 71, Nos. 1-3, composed by François Devienne in 1795 are not considered true duo sonatas, they contain many classical elements and must be considered as well. A brief analysis of Devienne's Sonata in G Major, Op. 71, No. 1 will reveal classical style characteristics present in these unique 'solo sonatas.' Sonatas for Oboe Solo sonatas for oboe represent a sizeable repertoire in the baroque period, including contributions by Georg Philipp Telemann, Johann Sebastian Bach, Antonio Vivaldi, and especially George Frederic Handel.
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