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The Viennese Violone: the Development, Blossoming, and Decline of a Musical Instrument in 18Th Century Vienna

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The Viennese Violone: the Development, Blossoming, and Decline of a Musical Instrument in 18Th Century Vienna The Viennese Violone: The Development, Blossoming, and Decline of a Musical Instrument in 18th Century Vienna A document submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music 2016 by William Christopher Leverenz B.M., Southern Illinois University Carbondale, 2006 M.M., University of Cincinnati College-Conservatory of Music, 2008 2 Abstract This work is an examination of the Viennese violone school of double bass performance that developed during the latter half of the 18th century. The focus of this study is the tuning system that allowed the instrument to flourish during the Viennese Classic era and how these same idiomatic traits would render the instrument obsolete by the early 19th century. The Viennese violone utilized a unique tuning system of thirds and fourths intervals. It was used as a solo, chamber, and orchestral instrument that coexisted with other European bass styles that utilized different tuning systems. The examination will track the development and demise of this unique school of bass playing. Through analysis of representative solo works the development of the school’s technique is examined in correlation with the constantly evolving musical content. Analysis of selected symphonic works demonstrates the use of the bass violone in an orchestral setting. After establishing the unique characteristics that allowed the violone to flourish during the 18th century this document will prove how the violone was unable to meet the evolving musical demands of the 19th century. 3 4 Table of Contents The Viennese Violone…………………………………………………………………………....6 Vienna in the 18th Century……………………………………………………………………….9 Early Violone Development………………………………………………………………….....11 Construction of the Violone………………………………………………………………….....15 The Violone’s Tuning System………………………………………………………………......18 Literature and Champions of the Violone……………………………………………………....22 Decline of the Violone……………………………………………………………………….…33 Epilogue…………………………………………………………………………………….…..39 Bibliography………………………………………………………………………………....….41 5 The Viennese Violone In the Western Classical music tradition the string bass provides the harmonic and rhythmic foundation for the ensemble. Rarely does this instrument step out of its supporting role, the bass performing as a featured soloist tends to be an exception. Works featuring the bass as a soloist are a rare find and inevitably written by the performer for his own use. These works and their composers/performers are considered a novelty rather than a desired medium for musical expression. There was a brief period of time when solo works for the bass were regularly composed for public performance. This was the era of the Viennese Violone and in the history of the bass it was a “Golden Era of Virtuosity”1. Between 1760 and 1800 there was a proliferation of bass concerti in and around Vienna. These works were composed with a specific instrument in mind that has been referred to by many names: the Viennese double bass, the Viennese violone, the Viennese bass violone, and the Viennese tuned bass. For this document, I will be referring to the instrument as the Viennese violone or simply violone. In four decades, more than thirty concerti and a large number of chamber works were composed featuring the violone. The outpouring of compositions during this short time has led noted bass historian Paul Brun to refer to this time as “The Golden Age of Virtuosity” in his book A New History of the Double Bass.2 The popularity of this bass instrument is well documented in contemporary music reviews, letters, and literature. Furthermore, compositions by the leading composers in the Viennese classic, including Dittersdorf, Hoffmeister, Pichl, 1 Brun, Paul. A New History of the Double Bass (Villeneuve d’Ascq, France: Paul Brun Productions, 2000), 99. 2 Brun, 99. 6 Vanhal, Sperger, Haydn, and Mozart are a testament to the regional popularity of this instrument during the Classical era. During this period, the bass instrument was not standardized throughout Europe in technique, construction, or tuning. The violone had a unique 3rd/4th tuning system tuned F-A-d- f#-a that differed from all the other tuning systems of coexisting bass instruments throughout Europe during this era. The popularity of the violone did not continue into the Romantic era. The instrument’s structural characteristics and tuning system rendered it obsolete in the diverse musical landscape of the 19th century. When the violone fell out of favor, many of the works that were kept in court libraries and personal collections were lost due to poor preservation, fire, or time. This unique school of bass playing was forgotten. With the disappearance of the tuning system, many bassists interpreted the works that did survive as extremely difficult. The works were heavily edited, and at times entire sections were removed to make a performance on a modern bass feasible.3 In 1955, a collection of bass works were found at the Landesbibliothek in Schwerin, Germany. This collection had belonged to Sperger and was comprised of works by Borghi, Dittersdorf, Zimmerman, Pichl, Stamitz, Vanhal, Capuzzi, Cimador, Hoffmeister, and Sperger’s own compositions. The discovery of this catalog rekindled interest in the Viennese violone.4 During the 1960’s, Klaus Trumpf and Adolf Meier published many of the works they had discovered. Meier’s book, Konzertant Musik fur Kontrabass in der Wiener Klassik, documented the use of the instrument during the classical era, cataloging the compositions discovered at the 3 Schultz, Michal. “The Tuning of the Viennese Double Bass: An Indication of its Effect on the Articulation of Form in a Dittersdorf Concerto.” International Society of Bassists Vol. XV, no. 3 (Spring 1989), 59. 4 Brun, 111. 7 Landesbibliothek.5 Meier and Trumpf have written many articles on the Viennese bass school and presented lectures and master classes on the instrument and its technique. Since the discovery and research by Meier and Trumpf, further study of the Viennese violone school has continued and the repertoire for the double bass has also grown with the addition of these lost works. Currently, Klaus, Trumpf, and others offer editions of concerti and chamber works with modern double bass tuning and Viennese scordatura offered for the performer. These publications have sparked a Renaissance for this instrument and its music that continues to grow in popularity.6 This document will present the history of the instrument, including the noted musicians and composers for the instrument, and posit why the Viennese Violone was unable to survive. The historical portion will examine the development of the instrument and a look at how its technique evolved over the course of fifty years. A look at the noted musicians and composers who championed this instrument will illustrate its regional popularity during the mid-to-late 18th century. The final portion will discuss why the instrument became obsolete due to structural shortcomings and its tuning system. This document will chronicle the development, blossoming, and decay of the musical instrument that was the Viennese Violone of the 18th century. 5 Brun, 110. 6 Brun, 110-111. 8 Vienna in the 18th Century The economic and political conditions of a nation cannot create artistic talent, however, it can provide opportunities to cultivate the arts. The patronage of the Habsurg family and their subordinate rulers in the Holy Roman Empire during the 18th century helped to create the conditions for a profusion of musical productivity, notably a substantial demand for artistic jobs.7 Economic historians state that in the 18th century many of the Habsburg territories were highly prosperous. This prosperity brought wealth to the nobility and the upper class. They spent this wealth liberally, running lavish courts and large estates that included the services of composers and musicians.8 The Habsburg rulers supported the arts and in doing so set a standard for patronage throughout the empire. The mid-to-late 1760’s were a time of economic recovery in the Habsburg Empire following the Seven Years War against Prussia. The state centralization reform instituted by Josephine and her son Joseph II created an environment in which cultural development could occur. The Habsburg monarchs pushed the nobleman out of politics and into the private sphere. This created an environment for culture and arts around Vienna to flourish.9 One example of increased patronage was Prince Paul Anton Esterhàzy. He founded an orchestra in 1761 upon his return to Esterhàza after his military and diplomatic missions in Russia. The supportive climate led to an increase of music from the Esterhàzy estate by one of the most notable composers of the eighteenth century, Franz Joseph Haydn.10 7 Baumol, William and Hilda. “On the Economics of Musical Composition in Mozart’s Vienna.” Journal of Cultural Economics 18, (1994) 172. 8 Baumol, 173. 9 Focht, Josef. “Solo Music for the Viennese Double Bass and Mozart’s Compositions with Obbligato Passages for Double Bass.” International Society of Bassists Vol. XVIII, No. 2 (Fall 1992): 45. 10 Focht, 45. 9 During this era, musical activities were sought out by the nobleman and the wealthy as a means of bestowing upon themselves honor and prestige. Music, especially instrumental music, then, was a highly honorific indoor sport in Vienna: any Viennese understood that it was something the best people cultivated in a big way […] If music was eminently socially correct…it would not fail to be impressive to the bevies of newly rich and newly noble. They could think to better themselves cheaply through appearances, so they too assiduously cultivated their musical talents and interests.11 This type of cultural mindset led to a high demand for performers and composers. Old music was almost never performed. Concert programs would consist many times entirely of new music, often by court composers.12 This created an abundance of employment for composers and musicians.
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