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Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 Hans Haug: The Chamber Works Featuring the Guitar an Evolution of Style, Texture, and Form Adam Foster Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC HANS HAUG: THE CHAMBER WORKS FEATURING THE GUITAR- AN EVOLUTION OF STYLE, TEXTURE, AND FORM By ADAM FOSTER 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, 2011 The members of the committee approve the treatise of Adam Foster defended on March 24, 2011. _______________________________________ Evan Jones Professor Co-Directing Treatise _______________________________________ Bruce Holzman Professor Co-Directing Treatise _______________________________________ Leo Welch University Representative _______________________________________ Greg Sauer Committee Member The Graduate School has verified and approved the above-named committee members. ii To Stacey and M.T. iii ACKNOWLEDGEMENTS There are many people that need to be acknowledged. Thank you to my committee: Dr. Evan Jones, for his tireless editorial and musicological insights, Dr. Leo Welch, for providing extensive professional advice and mentorship, Professor Greg Sauer for advice and service to this and countless other projects, and to Professor Bruce Holzman, whose mentorship, honesty, integrity, and investment in my growth as a musician will forever be cherished. I must thank Hans Haug‘s daughter, Ms. Martine Haug, for her generosity in providing me the permissions to view Haug‘s unpublished catalogue of scores from the Catalogue du Fonds at the Bibliothèque cantonale et universitaire Lausanne. Much thanks to Mr. Allan Clive Jones and Jacques Tchamkerten who assisted in providing materials from Jean-Louis Matthey and the initial contact with the Lausanne Conservatory. This project was realized in part by the generosity of the faculty at the Bibliothèque cantonale et universitaire de Lausanne, especially the Chair of the Lausanne Conservatory, Mrs. Federica Rusconi Castellani and the Director of the Archives Musicales, Mrs. Verena Monnier. Thanks to the Circulation/Reserves Manager, Ms. Jennifer Talley and the friendly staff at the Warren D. Allen Music Library, who dealt with my numerous special requests through Inter-Library Loan, and to the libraries that provided me with invaluable resources: Yale University, University of Georgia, University of Maryland, Indiana University, University of North Carolina Chapel Hill, University of California Davis, and Northwestern University. A special thank you goes to Maestro Konrad Ragossnig, who was very generous in sharing his knowledge about Hans Haug and in providing a copy of the manuscript of the Capriccio for Flute and Guitar from the library of flautist Dr. Werner Tripp. Another warm thank you goes to Maestro Michel Rochat who shared with me some wonderful insights on Haug as a composer, teacher, and colleague at the Lausanne Conservatory, and provided detailed insights on Haug‘s teachings and theory of the ―Harmony of Gravitation‖. Finally I would like to thank my family for all their love and support throughout the degree. Most importantly, I thank my wife, Stacey Abbott, who has supported me in every aspect of this project, with love, smiles, and an occasional yoga class to keep me in line. iv TABLE OF CONTENTS List of Musical Examples .............................................................................................................. vi List of Figures ............................................................................................................................... vii Abstract ........................................................................................................................................ viii 1. BIOGRAPHICAL AND HISTORICAL CONTEXT .............................................................1 1.1 Biography of Hans Haug ...............................................................................................1 1.2 Munich: 1921-1923 ........................................................................................................3 1.3 Return to Switzerland: From Folk-Opera to Radio-Plays..............................................8 1.4 Lausanne Years: 1942-1967 ........................................................................................14 2. THE HISTORICAL CONTEXT OF CHAMBER MUSIC WITH GUITAR .......................19 2.1 The Guitar in Chamber Music—A Nineteenth-Century context .................................19 2.2 The Guitar in Chamber Music—Twentieth Century ...................................................23 2.3 Towards a Second Viennese ―Guitar School‖ .............................................................28 2.4 Haug‘s Solo Works: Evolution of Style and the Influence of Andrés Segovia ...........31 3. HANS HAUG AND MUSICAL TEXTURE ........................................................................35 3.1 Melody .........................................................................................................................35 3.2 Harmony ......................................................................................................................39 3.3 Rhythm .........................................................................................................................41 4. THE CONCERT CHAMBER WORKS ...............................................................................44 4.1 The Fantasia pour Guitare et Piano (1957) .................................................................44 4.1.1 Melody .............................................................................................................46 4.1.2 Harmony ..........................................................................................................49 4.1.3 Rhythm .............................................................................................................50 4.1.4 The Fantasia in Performance...........................................................................52 4.2 The Capriccio pour Flûte et Guitare (1963) ................................................................56 4.2.1 Melody .............................................................................................................59 4.2.2 Harmony ..........................................................................................................63 4.2.3 Rhythm .............................................................................................................65 4.2.4 The Capriccio in Performance .........................................................................67 5. CODA: A RETROSPECTIVE VIEW OF HAUG ................................................................72 Appendix A: List of Published Works ...........................................................................................75 Appendix B: Permissions and Correspondence .............................................................................77 Selected Bibliography ....................................................................................................................93 Biographical Sketch .......................................................................................................................97 v LIST OF MUSICAL EXAMPLES 3.1 Concertino for Guitar and Orchestra (piano reduction), measures 1-8 .................................36 3.2 Preludio for solo guitar, measures 1-6 ..................................................................................37 3.3 Étude: Rondo Fantastico, measures 45-47 ............................................................................38 3.4 ―Toccata‖ (from Prelude, Tiento, Toccata), measures 1-2 ...................................................38 3.5 Example of Haug‘s ―Harmony of Gravitation‖ by Michel Rochat .......................................39 3.6 Étude: Rondo Fantastico, measures 80-88 ............................................................................41 3.7 ―Tiento‖ (from Prelude, Tiento, Toccata), measures 7-9 ......................................................42 4.1 Fantasia pour Guitare et Piano (score), measures 18-26 ......................................................47 4.2 Fantasia pour Guitare et Piano: ―Ballade‖ (manuscript), measures 169-175 .......................48 4.3 Fantasia pour Guitare et Piano (manuscript), measures 247-250 .........................................49 4.4 Fantasia pour Guitare et Piano (manuscript), measures 261-264 .........................................50 4.5 Fantasia pour Guitare et Piano (manuscript), measures 83-85 .............................................51 4.6 Capriccio pour Flûte et Guitar: ―Sérénade à L‘Inconnue‖ (manuscript), measures 81-86 ...57 4.7 Capriccio pour Flûte et Guitar: ―Sérénade à L‘Inconnue‖ (score), measures 84-87 ............57 4.8 Capriccio pour Flûte et Guitar: ―Sérénade à L‘Inconnue‖ (manuscript), measures 82-88 ...58 4.9 Capriccio pour Flûte et Guitar: ―Prelude‖ (score), measures 1-2 .........................................59 4.10 Capriccio pour Flûte et Guitar: ―Prelude‖ (score), measures 8-11 .......................................60 4.11 Capriccio pour Flûte et Guitar: ―Prelude‖ (score), measures 26-31 .....................................61 4.12 Capriccio pour Flûte et Guitar: ―Gigue‖ (score), measures 19-23 ........................................65