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BRUCE EDWARD GBUR the Bassoon Concertos and Contrabassoon Concerto of Victor Bruns (Under the Direction of WILLIAM D

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BRUCE EDWARD GBUR the Bassoon Concertos and Contrabassoon Concerto of Victor Bruns (Under the Direction of WILLIAM D BRUCE EDWARD GBUR The Bassoon Concertos and Contrabassoon Concerto of Victor Bruns (Under the direction of WILLIAM D. DAVIS) The purpose of this study is to examine the four bassoon concertos and contrabassoon concerto of Victor Bruns (1904-1996), and in doing so to interest bassoonists in performing them. These works represent a body of repertoire for the bassoon that is unparalleled in the twentieth century. The political situation between the United States and East Germany during the Cold War prevented many of these works from being disseminated or performed in our country. This study contains an introductory chapter and a biographical chapter. The next five chapters are devoted to each of the works examined. Information provided regarding each composition includes date of composition, dedication and/or commission, orchestration, approximate timing, date and performers of premiere, publication information, available recordings, known reviews, a structural analysis, and performance considerations. The final chapter of conclusions discusses the five concertos regarding their overall formal structures, harmonic language, idiomatic writing for the bassoon, cadenzas, and orchestration, as well as suggestions for further study of this composer. INDEX WORDS: Bassoon, contrabassoon, Bruns, concerto, performance THE BASSOON CONCERTOS AND CONTRABASSOON CONCERTO OF VICTOR BRUNS by BRUCE EDWARD GBUR B.A., Baldwin-Wallace College, 1979 M.A., The University of Georgia, 1991 A Document Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree DOCTOR OF MUSICAL ARTS ATHENS, GEORGIA 2001 © 2001 Bruce Edward Gbur All Rights Reserved THE BASSOON CONCERTOS AND CONTRABASSOON CONCERTO OF VICTOR BRUNS by BRUCE EDWARD GBUR Approved: Major Professor: William D. Davis Committee: Angela Jones-Reus Dwight Manning David Schiller Ronald Waln Electronic Version Approved: Gordhan L. Patel Dean of the Graduate School The University of Georgia December 2001 Dedicated to Ronald Phillips Teacher, Mentor, and Friend With deepest appreciation for over thirty years of guidance, encouragement, and inspiration and to William D. Davis Without whose persistence and self-sacrifice this project would not have seen completion. iv ACKNOWLEDGEMENTS Many people have provided me with assistance or encouragement during the research and writing of this study. First and foremost are my parents, who have never wavered in their support of my decision to follow a career in music. Special thanks are owed to my uncle, Walter Gbur, without whose financial assistance this project would not have been possible. During my first trip to Berlin in 1993, Ingo Jander allowed me to take over his flat as my base of operation. While visitng Berlin again in 1995, Helge Bartolomäus and his wife Bridget Ingram graciously opened their home to me and provided me with hospitality and their own reminiscences of Victor Bruns. All three of these kind friends guided me around the city and helped me to gain access to many sources of information about Bruns and his career. At the Staatsoper Berlin, thanks are owed to Frank-Rüdiger Berger, one of the Press Officers; Frau Thomas, that institution’s Archivist; and Frau Christine Mitlehner, the Staatsoper’s Program Annotator. Alexi Dmitriev, principle bassoonist of the Kirov Opera in St. Petersburg, Russia, did the legwork of tracking down a copy of the program of the premiere of the Bruns Concerto No. 1, op. 5. His efforts on my behalf helped to correct false information concerning that performance which had been previously disseminated. Henry Skolnick provided me with copies of the correspondence between himself and Victor Bruns during the commissioning and composition of the v vi Contrabassoon Concerto. Hank also gave me a copy of the freshly printed orchestra score for that work and a copy of the holograph piano reduction. Jennell Hutchins, or “Momma Nell,” the Graduate Administrative Coordinator at the University of Georgia School of Music was an incredible help in navigating the various deadlines, forms, and requirements required by the Graduate School. The members of my Advisory Committee, Ms. Angela Jones- Reus, Dr. Dwight Manning, Dr. David Schiller, and Dr. Ronald Waln, provided many valuable comments and suggestions concerning the final wording of this study. My Major Professor, Dr. William Davis, went far beyond the call of duty in supporting me and sacrificing his own time in order to help me complete this study within deadline. My friends and colleagues at Kansas State University have been tireless in their friendly cajoling and nagging, helping me to keep my sense of humor and a realistic perspective on the parameters of this study. The Fuente Family of the Dominican Republic, manufacturers of my favorite cigars, helped me to keep my sanity during the writing process. Jim Cox, of Athens, Georgia, did yeoman’s service in proofreading the end product. Lastly, the late Victor Bruns provided me with photocopies of many of the works involved with this study, as well as several other of his compositions. He offered me the hospitality of his home in the former East Zone of Berlin, but unfortunately had to move to a nursing home before I could accept his kind offer. He often said that “Alle Fagottisten der Welt sind meine Fruende!” or “All the world’s bassoonists are my friends!” All of us who play the bassoon should be grateful to Victor Bruns for the rich legacy he has left us, a body of repertoire unequaled by any other composer in the twentieth century. TABLE OF CONTENTS Page ACKNOWLEDGMENTS ................................................................................................ v LIST OF FIGURES.........................................................................................................viii LIST OF MUSICAL EXAMPLES................................................................................... ix CHAPTER 1 INTRODUCTION .......................................................................................1 2 BIOGRAPHICAL INFORMATION .........................................................9 3 CONCERTO NO. 1, OP. 5........................................................................23 4 CONCERTO NO. 2, OP. 15......................................................................34 5 CONCERTO NO. 3, OP. 41......................................................................49 6 CONCERTO NO. 4, OP. 83......................................................................65 7 CONTRABASSOON CONCERTO, OP. 98 ...........................................82 8 CONCLUSIONS......................................................................................100 APPENDIX.....................................................................................................................106 BIBLIOGRAPHY OF SOURCES CONSULTED .......................................................110 vii LIST OF FIGURES Page Figure 1...............................................................................................................................8 viii LIST OF MUSICAL EXAMPLES Page Example 1, Concerto No. 1, mm. 5-7, solo bassoon ...................................................25 Example 2, Concerto No. 1, mm. 78-81, piano, right hand .......................................26 Example 3, Concerto No. 1, mm. 136-143, solo bassoon and piano.........................27 Example 4, Concerto No. 1, mm. 113-118, solo bassoon ...........................................29 Example 5, Concerto No. 1, mm. 240-244, solo bassoon ...........................................30 Example 6, Concerto No. 2, Movement I, mm. 1-4, piano ........................................35 Example 7, Concerto No. 2, Movement I, mm. 9-15, solo bassoon..........................36 Example 8, Concerto No. 2, Movement I, mm. 49-54, solo bassoon and piano.....38 Example 9, Concerto No. 2, Movement II, mm. 2-6, solo bassoon...........................40 Example 10, Concerto No. 2, Movement II, mm. 23-29, solo bassoon and piano..41 Example 11, Concerto No. 2, Movement III, mm. 6-9, solo bassoon .......................42 Example 12, Concerto No. 2, Movement III, mm. 106-111, solo bassoon ...............43 Example 13, Concerto No. 2, Movement III, mm. 208-215, first violins..................45 Example 14, Concerto No. 2, Movement III, mm. 140-141, solo bassoon ...............47 Example 15, Concerto No. 2, Movement III cadenza, mm. 297-300, solo bassoon...........................................................................................................47 Example 16, Concerto No. 3, Movement I, mm. 5-7, piano ......................................50 Example 17, Concerto No. 3, Movement I, mm. 8-24, solo bassoon........................51 Example 18, Concerto No. 3, Movement I, mm. 31-34, solo bassoon and woodwinds ............................................................................................................52 ix x Example 19, Concerto No. 3, Movement I, mm. 162-170, solo bassoon and viola.........................................................................................................................53 Example 20, Concerto No. 3, Movement I cadenza, mm. 214-223, solo bassoon ..56 Example 21, Concerto No. 3, Movement II, mm. 1-2, string ostinato......................56 Example 22, Concerto No. 3, Movement II, mm. 3-8, solo bassoon.........................57 Example 23, Concerto No. 3, Movement II, mm. 49-50, solo bassoon.....................58 Example 24, Concerto No. 3, Movement III, mm. 7-14,
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