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The Mozart Flute: Old and New Transcriptions of Kv

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The Mozart Flute: Old and New Transcriptions of Kv THE MOZART FLUTE: OLD AND NEW TRANSCRIPTIONS OF KV. 10-15 Elizabeth Ann Potts, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2017 APPROVED: Terri Sundberg, Major Professor David Bard-Schwarz, Committee Member Samantha Inman, Committee Member Benjamin Brand, Director of Graduate Studies in the College of Music John W. Richmond, Dean of the College of Music Victor Prybutok, Vice Provost of the Toulouse Graduate School Potts, Elizabeth Ann. The Mozart Flute: Old and New Transcriptions of KV. 10-15. Doctor of Musical Arts (Performance), May 2017, 93 pp., 17 tables, 25 figures, bibliography, 31 titles. My lecture serves as a critical examination of the Six Sonatas Op. 3, KV. 10-15 by W.A. Mozart. I engage the variances between the first edition of Op. 3 and those by Joseph Bopp and Louis Moyse edited specifically for the flute in hopes of providing another perspective for students, performers, and pedagogues alike. This study will (1) provide background information regarding the creation of KV. 10-15, (2) include a brief analysis of each sonata, (3) compare adaptions between the first edition, according to NMA, and two modern flute transcriptions, and (4) produce two new transcriptions. My new transcriptions of Sonatas KV. 10 and 13 represent a closer interpretation to the first edition and alerts students and teachers to the differences between the editions by Joseph Bopp and Louis Moyse to that of the first and NMA editions. The goal is to stimulate performers to reappraise their approach to this particular repertoire and to encourage more authentic performances of these engaging sonatas. Copyright 2017 by Elizabeth Ann Potts ii ACKNOWLEDGEMENTS I would first like to express my appreciation to Louise Rossi for being the catalyst to my flute career. Thank you for providing the DSO tickets where I saw the flute soloist in a hot pink dress that started it all. Thank you to all my flute teachers including Melissa Arthur, Dr. Jennie Brown, Dr. Valerie Watts, Dr. Elizabeth McNutt, and most importantly Professor Terri Sundberg. I am grateful to each of you for your guidance, encouragement, and support. My success would not be possible without your mentorship. I would also like to express my gratitude to Dr. David Bard-Schwarz and Dr. Samantha Inman for serving on my committee and supporting me every step of the way. To all my friends and family, thank you. I am especially grateful to Lisa Bost-Sandberg for putting up with my late-night calls and always being a listening ear to all my questions. Most importantly I would like to thank my parents, Keath and Janye, who inspired and nurtured my love of music and to my wonderful husband, Eli, for his unconditional love and support. Soli Deo Gloria iii TABLE OF CONTENTS ACKNOWLEDGEMENTS………………………………………………………………………iii LIST OF TABLES..………………………………………………………………………...…….vi LIST OF FIGURES..…………………………………………………………………..………...vii LIST OF DIAGRAMS…………………………………………………………………………...ix CHAPTERS I. INTRODUCTION………………………………………………………………...1 Significance……………………………………………………………………1 State of Research………………………………………………………………2 Statement of Purpose………………………………………………………….7 Context………………………………………………………………………...9 II. GENERAL ANALYSIS…………………………………………………………10 Sonata No. 1 in Bb, KV. 10………………………………………………….10 Sonata No. 2 in G, KV. 11…………………………………………………...13 Sonata No. 3 in A, KV. 12…………………………………………………...16 Sonata No. 4 in F, KV. 13……………………………………………………19 Sonata No. 5 in C, KV. 14…………………………………………………...23 Sonata No. 6 in Bb, KV. 15………………………………………………….28 III. COMPARATIVE ANALYSIS ON ORIGIN OF FLUTE LINE………………..32 Sonatas KV. 10 – 15…………………………………………………………32 IV. NEW TRANSCRIPTIONS………………………………………………………55 Performance Practice………………………………………………………...55 iv Transcriptions for Flute and Piano, KV. 10 and KV. 13…………………….63 BIBLIOGRAPHY………………………………………………………………………………..91 v LIST OF TABLES Table 10.1: Comparison of Flute Origin for Sonata KV. 10, mvt. 1…………………………….33 Table 10.2: Comparison of Flute Origin for Sonata KV. 10, mvt. 2 …………………................33 Table 10.3: Comparison of Flute Origin for Sonata KV. 10, Menuetto I and II ………………..34 Table 11.1: Comparison of Flute Origin for Sonata KV. 11, mvt. 1…………………………….34 Table 11.2: Comparison of Flute Origin for Sonata KV. 11, mvt. 2…………………………….34 Table 11.3: Comparison of Flute Origin for Sonata KV. 11, Menuetto…………………………35 Table 12.1: Comparison of Flute Origin for Sonata KV. 12, mvt. 1…………………………….35 Table 12.2: Comparison of Flute Origin for Sonata KV. 12, mvt. 2…………………………….36 Table 13.1: Comparison of Flute Origin for Sonata KV. 13, mvt. 1…………………………….37 Table 13.2: Comparison of Flute Origin for Sonata KV. 13, mvt. 2…………………………….37 Table 13.3: Comparison of Flute Origin for Sonata KV. 13, Menuetto I and II………...............38 Table 14.1: Comparison of Flute Origin for Sonata KV. 14, mvt. 1…………………………….38 Table 14.2: Comparison of Flute Origin for Sonata KV. 14, mvt. 2…………………………….39 Table 14.3: Comparison of Flute Origin for Sonata KV. 14, Menuetto I and II………...............39 Table 15.1: Comparison of Flute Origin for Sonata KV. 15, mvt. 1…………………………….40 Table 15.2: Comparison of Flute Origin for Sonata KV. 15, mvt. 2…………………………….40 Table 16: Comparison of Total Measures Derived from Original Violin/Flute Line……………41 vi LIST OF FIGURES Figure 1a: Urtext editions of Mozart Sonata’s KV. 10-15 for Piano and Violin or Flute...............4 Figure 1b: Arranged editions of Mozart Sonata’s KV. 10-15 for Flute and Piano………………..4 Figure 2: Publications Including Information about Mozart Sonatas KV. 10-15…………………6 Figure 3: Comparison between measures 1 – 8 of Sonata, KV. 10…………………….……...….8 Figure 4: Rhythmic Pattern found in mvt. 1 of Sonata KV. 10………………………………….11 Figure 5: Sonata KV. 11, Menuetto………………………………………...……………………16 Figure 6: Sonata KV. 12, Andante………………………………………...…………….……….17 Figure 7: Sonata KV.12, Mvt. 2, measures 21-29……………………………………….............19 Figure 8: Sonata KV. 13, mvt. 1 Opening Phrase………………………….………….................20 Figure 9: Sonata KV. 13, mvt. 2 Opening Phrase……………………….……….........................21 Figure 10: Sonata KV. 14, mvt. 1 Opening four measures………………………………………24 Figure 11: Sonata KV. 14, mvt. 1 mm. 15-18………………………….……...............................24 Figure 12: Sonata KV. 14, Mvt. 2 Opening Theme…………………….…………......................26 Figure 13: Sonata KV. 14, mvt. 2 Second Theme…………………………….…........................26 Figure 14: Sonata KV. 14, Menuetto II Opening Phrase……………………..…………...….….28 Figure 15: Sonata KV. 15 mvt. 1 Opening Phrase………………………...……………..............29 Figure 16: Sonata KV. 15, mvt. 2 Opening Phrase………………………………………............31 Figure 17a: Sonata KV. 10, mvt. 1, mm. 20-23, NMA Edition……………………………….....45 Figure 17b: Sonata KV. 10, mvt. 1, mm. 19-24, Louis Moyse Edition………………………….45 Figure 17c: Sonata KV. 10, mvt. 1, mm. 19-24, Josephy Bopp Edition……….………………..46 Figure 18a: Sonata KV. 15, mvt. 1, mm. 1-3, Neue Mozart Ausgabe edition…...........................47 Figure 18b: Sonata KV. 15, mvt. 1, mm. 1-3, Joseph Bopp edition…………..…………………47 vii Figure 18c: Sonata KV. 15, mvt. 1, mm. 1-3, Louis Moyse edition ……..……………………..47 Figure 19a: Sonata KV. 10, mvt. 1, mm. 1-3, NMA edition……………….……………………48 Figure 19b: Sonata KV. 10, mvt. 1, mm. 1-3, Louis Moyse edition ……….…………………...48 Figure 20a: Sonata KV. 10, mvt. 2, mm. 12-18, NMA edition……………..………………...…50 Figure 20b: Sonata KV. 10, mvt. 2, mm. 12-19, Louis Moyse edition……..……………..…….50 Figure 21: Sonata KV. 10, mvt. 2, mm. 12-23, Joseph Bopp edition…….……………………...51 Figure 22a: Sonata KV. 13, mvt. 1, mm. 1-6, NMA edition…………………….………………52 Figure 22b: Sonata KV. 13, mvt. 1, mm. 1-8, Louis Moyse edition ………….………………...52 Figure 23: Sonata, KV. 10 by W.A. Mozart, opening 9 measures as found in the Neue Mozart- Ausgabe edition………………………………………………………………………………….53 Figure 24: Comparison of opening eight measures from Sonata KV. 10 between the New Transcription and the Louis Moyse Edition……………………………………………………...54 Figure 25: All Octave Displacements within Transcriptions of KV. 10 and KV. 13 by Potts…..62 viii LIST OF DIAGRAMS Form Diagram 10.1: Sonata KV. 10, mvt. 1……………………………………………………..11 Form Diagram 10.2: Sonata KV. 10, mvt. 2……………………………………………………..12 Form Diagram 10.3a: Sonata KV. 10, Menuetto I……………………………………………….13 Form Diagram 10.3b: Sonata KV. 10, Menuetto II………………………………..…………….13 Form Diagram 11.1: Sonata KV. 11, mvt. 1……………………………………….…………….14 Form Diagram 11.2: Sonata KV. 11, Allegro…………………………………….……………...15 Form Diagram 11.3: Sonata KV. 11, Menuetto………………………………….………………15 Form Diagram 12.1: Sonata KV. 12, mvt. 1……………………………………….…………….17 Form Diagram 12.2: Sonata KV. 12, mvt. 2……………………………………….…………….18 Form Diagram 13.1: Sonata KV. 13, mvt. 1……………………………………….…………….20 Form Diagram 13.2: Sonata KV. 13, mvt. 2……………………………………….…………….22 Form Diagram 13.3: Sonata KV. 13, Menuetto I and Menuetto II ………………..…………….23 Form Diagram 14.1: Sonata KV. 14, mvt. 1……………………………………….…………….25 Form Diagram 14.2: Sonata KV. 14, mvt. 2……………………………………………….…….25 Form Diagram 14.3a: Sonata KV. 14, Menuetto I……………………………….……................27 Form Diagram 14.3b: Sonata KV. 14, Menuetto II …………………………….……………….27 Form Diagram 15.1: Sonata KV. 15, mvt. 1…………………………………….……………….30 Form Diagram 15.2: Sonata KV. 15, mvt. 2…………………………………….……………….31 Form Diagram 16: Origin of Flute Line within Sonata KV. 10, mvt. 1 edited by Louis Moyse…………………………………………………………………………………………….43 Form Diagram 17: Origin of Flute Line within Sonata KV. 10, mvt. 1 edited by Joseph Bopp……………………………………………………………………………………..……….43
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