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ANTOINE REICHA’S QUARTETS FOR FLUTE AND STRINGS, OP. 98

AN HISTORICAL PERSPECTIVE AND STYLISTIC OVERVIEW

DOCUMENT

Presented in Partial Fulfillment of the Requirements

for the Degree Doctor of Musical Arts

in the Graduate School of

The Ohio State University

By

Leslie Goldman Maaser, B.M., M.M.

*****

The Ohio State University

1998

Document Committee: roved by:

Professor Christopher Weait Advisor

Professor Katherine Borst Jones Co-Advisor Co-Advisors Professor Judith Delzell School of Music UMI Number: 99 007 87

Copyright 1998 by Maaser, Leslie Goldman

All rights reserved.

UMI Microform 9900787 Copyright 1998, by UMI Company. All rights reserved.

This microform edition is protected against unauthorized copying under Title 17, United States Code.

UMI 300 North Zeeb Road Ann Arbor, MI 48103 Copyright by

Leslie Goldman Maaser

1998 ABSTRACT

During his lifetime, Antoine Reicha (1770-1836) was

regarded as a notable theorist, teacher, and composer. He

received recognition for his woodwind quintets and

theoretical treatises. Reicha composed over 100

compositions, however, knowledge of Reicha's music is

hindered by the lack of modern editions.

The Six Quartets for Flute, Violin. Viola, and Cello.

Op ■ 98 were published in two volumes in separate parts.

The date of the composition of these quartets is usually

estimated as 1813-1814 and they were originally published

in Paris around 1820. While a critical edition in both

score and part-form exists for Volume II (quartets in gm,

CM, GM), there is no evidence that a published score for

the Volume I quartets (em, AM, DM) is available, or has

ever been published. The score form included in this document of the Quartet in e minor form Volume I, was

compiled from the part form publication by Boieldieu

(Paris), printed cl820.

11 The purpose of this paper is to expand awareness of

the classical flute chamber music repertoire, particularly

chamber music that places the flute as an equal partner

with the strings, not as a soloist with string

accompaniment. In order to better interpret Reicha's flute

quartets, it is necessary to understand the compositional

and performance milieu that influenced Reicha in his

conception of this genre. In this document Reicha's biographical information, as well as the development,

evolution, and the ensuing popularity of the flute and

flute quartet are discussed. In addition, the analysis of

these quartets, in particular the Quartet in e minor, is related to the theoretical and performance practice principles based on Reicha's treatises and the writings of other prominent authors of that time period.

Ill Dedicated with love to my

incredibly supportive husband, Bruce,

my beautiful daughter, Karenna,

my parents. Milt and Rochelle Goldman,

my brother. A m i e , and his family,

Judy, Kyle, liana, and Marlee,

my mother-in-law, Luella Maaser, and to the loving memory of my brother,

Kenneth Samuel Goldman

IV ACKNOWLEDGEMENTS

I would like to express my sincerest thanks to my advisers, Professors Christopher Weait and Katherine Borst

Jones, for their help and guidance throughout these years of Doctoral work. In addition, I would like to thank

Katherine Borst Jones for her tutelage in my growth as a flutist, and for her patience in my completion of this project. I would also like to thank the other members of my document and recital committees. Professors Judith

Delzell and Robert Sorton, for their support.

I am truly grateful to Dr. Robert Brooks for his mentoring and unwavering support through the years, that facilitated my completion of this degree. Special thanks also goes to his wife, Christine, for her friendship and support.

I would like to thank my good friend, Linda Hnath and her family, for watching my daughter Karenna, to enable me to work on this project. I am also indebted to Lori Allen for her many hours of loving care of Karenna.

I am appreciative of all Dr. Thomas Heck's library assistance. I would like to thank Brian Thomas for his assistance in helping me format the music score in computer form, for Gabriele Gierz for her translation of Bücken's biography of Antoine Reicha, to the OSU Music Library

Staff, and to the Sibley Music Library staff of the Eastman

School of Music for their assistance. I would also like to

thank Olev Viro for his consultation regarding the string parts.

I owe so much to the love and support of my family.

My mother-in-law, Luella Maaser, my brother. A m i e , his wife, Judy, my nephew, Kyle, and nieces, liana and Marlee have given me much love and support. I am indebted to

Arnie for serving as my first flute teacher, for sacrificing his own music lessons so that my parents could afford to give me lessons, and for the countless hours of assistance and comfort he gave me throughout my education.

I am grateful to Judy for her interminable internet searches. I am forever grateful to my parents. Milt and

Rochelle Goldman, for their love, encouragement and support throughout my life.

Finally, this degree would not have been possible without the love, support, and encouragement that my husband, Bruce has given to me. He has made tremendous sacrifices on my behalf and I am eternally grateful for all his love. It is the love that I have for my daughter,

Karenna, that gave me the motivation to complete this

VI project. I wanted to set an example for her, that it is

important to finish what you start, and to always have

faith in yourself.

vir VITA

October 17, 1959...... Bom-Detroit, Michigan

1981...... B.M., Michigan State University East Lansing, Michigan

1983 Non-Resident Fellowship Recipient University of Wisconsin-Madison

1985 ...... M.M., University of Wisconsin-Madison

1986-1988 Instructor of Flute, Luther College Decorah, Iowa

1988-1989 Instructor of Flute, Valparaiso University Valparaiso, Indiana

1991-1994...... Graduate Associate in Flute Instruction and Performance, The Ohio State University Columbus, Ohio

1995-199 6 Instructor of Flute, Mt. Vernon Nazarene College Mt. Vernon, Ohio

1996-199 7 Instructor of Flute, Wright State University Dayton, Ohio

FIELDS OF STUDY

Major Field: Music Studies in Flute Performance and Chamber Music Music History Performance Practice Women in Music Music Education Psychology of Music

Vlll TABLE OF CONTENTS

Pàas ABSTRACT...... Ü

DEDICATION...... iv

ACKNOWLEDGEMENTS...... v

VITA...... viii

LIST OF TABLES...... xi

LIST OF EXAMPLES...... x ü

CHAPTER

INTRODUCTION...... 1

1. BIOGRAPHICAL INFORMATION...... 5

2. HISTORICAL CONTEXT...... 20

3. REICHA'S COMPOSITIONAL PRINCIPLES APPLIED TO SIX QUARTETS. OPUS 9 8 ...... 28

Quartet in e minor...... 33 Quartet in A Mai or ...... 45 Quartet in D Mai or ...... 49 Quartet in g minor...... 53 Quartet in C Major...... 56 Quartet in G Major...... 59 Conclusion...... 64

IX 4. PERFORMANCE PRACTICE...... 68

Dynamics and Accentuation...... 69 Ornaments...... 74 Articulation 7 6 Choice of Tempo...... 77 Tone and Intonation...... 77 Vibrato...... 80

5. CONCLUSION...... 81

APPENDIX A Score to Quartet in e minor...... 83

APPENDIX B Scores and Discography...... 12 8

BIBLIOGRAPHY...... 130 LIST OF TABLES

Table 1. Key of Movetnents- Relationships of 2nd to 1st m v t...... 32

Table 2. Key of 3rd and 4th movements...... 32

XI LIST OF EXAMPLES

Example 1 - Quartet, in A Major. 1st mvt...... 46

Example 2 - Quartet in A Major. 2nd mvt (fl)...... 48

Example 3 - Quartet in D Mai or . 1st mvt...... 5 0

Example 4 - Quartet in D Major. 1st mvt.(fl)...... 51

Example 5 - Quartet in g minor. 1st mv t ...... 54

Example 6 - Quartet in a minor. 2nd mvt...... 55

Example 7 - Quartet in C Major. 3rd mvt...... 58

Example 8 - Quartet in G Mai or. modulatory section...... 61

Example 9 - Quartet in G Major. 2nd mod. section...... 62

Example lo­ Quartet in G Major. Fugue...... 63

Example ll - Turn...... 74

X I 1 INTRODUCTION

Antoine Reicha (1770-1336) was a well-established composer and teacher, as well as flutist of the late eighteenth and early nineteenth century. Reicha was a transitional figure between classicism and the dawning romanticism. He conveyed tradition and was among the first to explain classical formal procedures. He also explored new avenues of musical language, including polymeters, polytonality, quartertones, and progressive ideas of instrumentation.

Reicha composed over 100 compositions, of which there are eight operas, orchestral overtures, two symphonies, instrumental concertos, a large number of chamber works for wind and string ensembles, and a cycle of compositions for keyboard, songs, cantatas, and choruses. However, appreciation of Reicha's music is hindered by the lack of modern editions.

The Six Quartets for Flute. Violin, Viola, and Cello.

Op . 98 were published in two volumes. The date of the composition of these quartets is usually estimated as 1813-

1814 and they were originally published in Paris around

1820. These quartets were very popular in their time and were printed in individual part form in many early nineteenth-century publications. A critical edition of

Volume II (quartets in gm, CM, GM) , in both score and part- form, was published in 1964 and reprinted in 1984, and a few recordings also exist (see Appendix B ) . A comprehensive search has yielded no evidence that Volume I

(quartets in em, AM, EM) was ever published in score form, and only one recording exists (see Appendix B) . The score form included in this document of the Quartet in e minor from Volume I, was compiled from the part form publication by Boieldieu (Paris) in approximately 1820, obtained from the Sibley Library of the Eastman School of Music (see

Appendix A).

In order to better interpret Reicha's flute quartets, it is necessary to understand the compositional and performance milieu that influenced Reicha in his conception of this genre. Reicha's biographical information, as well as the development, evolution, and the ensuing popularity of the flute and flute quartet will be discussed. In addition, analysis of these quartets, in particular the

Quartet in e minor, is related to the performance practice and compositional principles based on Reicha and other prominent authors of that time period.

Why study flute quartets or these quartets in particular? Many flutists, particularly flute students, do not always get an abundance of orchestral or ensemble experience, especially with strings. In this context, it is

extremely beneficial for the flutist to leam to play as a member of a "true ensemble" in addition to being a

"soloist" in an ensemble.

Ludwig Spohr differentiated the "true" (or as he

termed "genuine" quartet) from a solo quartet that

pertained to string quartets in his 1832 treatise :

Recently a type of quartet has arisen in which the first violin takes a solo part and the other three instruments merely accompany. To distinguish them from genuine quartets they are known as solo quartets {quatuors brilliants) . Their purpose is to give the soloist an opportunity to display his virtuosity in smaller musical circles. From the point of view of interpretation they thus belong to the category of concerto music, and everything that was in the preceding sections about the interpretation of a concerto is fully applicable to these and similar solo pieces with a three-or four-part accompaniment...

The interpretation of a genuine quartet, however, is subject to quite different requirements. The intention here is not that one single instrument should shine, but that all four should in identical manner become conversant with the composer's idea and bring it to life. The first violinist must therefore not attempt to stand out from the others either in the strength of his tone or in the style of his interpretation; he must rather contrive to work most intimately in keeping with the rest and even subordinate his own part in passages where it is not the leading voice.^

Reicha stated in his preface to the Quartets :

I composed these quartets, in the style of "Haydn", that means that each instrument is treated as an indispensable part. The flute lovers (or

^Ludwig Spohr, Violinschule (1832) 246-9, as printed in Robin Stowell, Violin Technique and Performance Practice in the Late Eighteenth and Early Nineteenth Centuries (Cambridge: Cambridge University Press, 1985) 279-80. amateurs) shouldn't therefore expect to find the part of this instrument continually prevailing. If we think of it (the flute) as isolated from the stringed instruments, it (the flute) will often appear insignificant, since the interest is divided into the four parts.

I wanted to compose true quartets and not sonatas or solos for flute with accompaniment of violin, alto and basse : there are enough of these last kind of compositions. I thought it would be pleasant for flute lovers (or amateurs) to find the opportunity to practice a kind of music that requires particular attention to be exactly played (or expressed).^

Much of the chamber music repertoire with flute either utilizes the flute as a solo instrument with accompaniment; as a member with other flutes, e.g., flute duets, trios, etc.; or as a member of a woodwind quintet with five different sonorities. Reicha's flute quartets with strings provide an excellent opportunity for the flutist to l e a m how to blend the flute timbre with the sonority and intonation of the string voices. This skill of being cognizant of how and when to use the flute color in a solo phrase, tonally and interpretatively, and when to merge the sound, with cohesive interpretation, intonation and vibrato, will help enable the flutist to become a better musician in chamber music as well as orchestral playing.

'Translation from the Preface to Antoine Reicha's Six Quartets for Flute. Violin. Viola, and Cello. Op. 98 (Germany; Schott,1820). CHAPTER 1

BIOGRAPHICAL INFORMATION

Antoine Joseph Reicha' was born in Prague, Bohemia on or about February 26, 1770', a few months before the birth of Beethoven^. Reicha was only ten months old when his

'According to Adrienne Simpson's article, "An Introduction to Antoine Reicha," Consort 40 (1984), 13, the Czech form of his name is Antonin Josef Rejcha, but the French form is more commonly used. The French spelling is adopted for use in this document.

'Maurice Emmanuel, Antonin Reicha (Paris: Henri Laurens, 1937), p. 118. Millard Laing states in "Anton Reicha's Quintets for Flute, Oboe, Clarinet, Horn, and Bassoon," (Ph.D. dissertation. University of Michigan, 1952), p. 5 that "an official copy of the baptismal record preserved in the Bibliothèque Nationale gives February 26 for the birth date, February 27 for the baptismal date. Ernst Bücken in his dissertation, Anton Reicha. sein Leben und seine kompositionen (Munich: C. Wolf, 1912), p. 10 cites the Reicha's birth date as February 25 based on the inscription on Reicha's tombstone and Theodore Lassabathie's. Histoire du Conservatoire imperial de musique et de declamation (Paris: Michel Levy, 1860). The date used my many authors including Prod'homme, Demuth, and quoted in Reicha's own autobiography is February 27, 1770.

^This biographical sketch is based on "Notes sur Antoine Reicha," (c. 1824), an autobiographical compilation of notes copied down by his daughter Antoinette. The English translation of the autobiography appears in Jacques Prod'homme, "From the unpublished autobiography of Antoine Reicha," The Musical Quarterly, XXII (July 1936), 339-53 and in Millard Laing, "Anton Reicha's Quintets for Flute, Oboe, Clarinet, Horn, and Bassoon" (Ph.D. dissertation. University of Michigan, 1952) 291-345. father, Simon, a baker% died at the age of 30. At the age of eleven, feeling that his education was being neglected, he impetuously left home without the consent of his mother by hiding away on a stagecoach which was headed for Glatow,

Bohemia, the home of his paternal grandfather. After the realization that his grandfather would not be able to fulfill the educational opportunities he so fervently desired, he moved on to Wallerstein in Swabia with his grandfather's permission.

Wallerstein, which is now part of southeast Germany, was the home of Antoine's aunt and uncle, Lucie Certelet and Josef Reicha, a virtuoso cellist, concert director, and composer. Josef and his wife, who were childless, embraced

Antoine and adopted him as their own child. Antoine came to Germany knowing only the Czech language. It was imperative in his new environment that he learn German, and since Lucie spoke only French, it was necessary for him to learn that language as well. Consequently Reicha forgot his native language. Antoine received instruction in flute, violin, piano from his uncle. "The fragmentary

®01ga Sotolova states in Antonin Rejcha: A biography and Thematic Catalogue. Translated by Deryck Viney. (Prague: Supraphon, 1990) 7, that the official baptismal certificate gives the father's occupation as "pistor", the Latin for miller or baker. facts of the first 30 years in the life and works of

[Antoine] Reicha often have been confused with those of his uncle

In 178 5, the Reicha family moved to Bonn, where Josef was invited to direct the court orchestra of the Elector of

Cologne. Upon the recommendation of his uncle, fifteen year-old Antoine was accepted as flutist and violinist in the court orchestra. The flute was Reicha's principal instrument. Sebastien Pfau was the other flutist in the court orchestra. Christian Neefe was the pianist and stage-manager for the opera. Some of the other musicians in the orchestra included the violinists, Franz Ries and

Andreas Romberg, the h o m i s t , Nikolaus Simrock, and the violist and substitute organist for the chapel, Ludwig van

Beethoven®. At this time, Beethoven and Reicha became friends and would meet later again in Vienna. According to

Reicha at this time they were "inseparable companions."

Reicha narrated an amusing anecdote in his memoirs:

One time at Court, when Beethoven played a Mozart piano concerto, he asked me to turn the pages for him. the piano strings kept constantly breaking and jumping into the air, and the hammers stuck among the broken strings. Beethoven, wishing at all costs to finish his piece, asked me in consequence to disentangle the hammers as they stopped functioning and to remove the broken strings. In order to obviate this, I was kept

’Peter E. Stone, "Antoine Reicha." New Grove Dictionary of Music and Musicians, ed. Stanley Sadie (London: MacMillan, 1980) 696-702.

“Ludwig Schiedermair, Der Junge Beethoven (Leipzig: Verlag Quelle & Meyer, 1925) 61. busier than Beethoven, for I continually had to go leaping about the piano during the entire performance of the piece."

Beethoven and Reicha both studied composition with

Neefe'“ who may also have introduced Reicha to Bach's keyboard works.“ Together, Reicha and Beethoven attended classes in mathematics and Kantian philosophy at the

University of Bonn. These subjects aroused and inspired

Reicha throughout his lifetime and were commented upon in his treatises.

Antoine became a very capable flutist at this time,

"able to improvise cadenzas, previously the preserve of the organ, with such flair that he was encouraged to repeat them at every performance. He recalled in his autobiography :

On one occasion, when the symphony we were playing was approaching its climax, I used the opportunity for a flute extempore twenty or thirty bars long. The next time we played it the orchestra refused to perform unless I provided another such impromptu. This happened every time we played that symphony, which was very frequently.*"

'Laing, op. c i t .. 337.

Ernst Bücken, "Beethoven und Reicha." Die Musik. XII/2 (Marz, 1913) 341.

“ Stone, op . cit. . 697.

“ Bücken, op . cit.. 341.

“ Sotolova, op . cit. . 12.

“ Ibid. 8 Inspired by the daily performances of the great

musical masterpieces by the court orchestra, Antoine

developed a strong passion for composing. Since Josef

initially disapproved of his composing ambitions fearing

that it would take time away from practicing and that

Antoine did not have the aptitude for it, Antoine studied

treatises on compositions in secret, and studied and

analyzed the works of Handel, Mozart, and Haydn which were

performed at the court. After a successful performance of

Antoine's first symphony by the court musicians when he was

seventeen years old, Joseph no longer opposed Antoine's

composing ambitions.

During the French Revolution, Bonn was occupied by

French troops and in 1794 the Court of Cologne was

dissolved. Josef, concerned about Antoine being "corrupted

by revolutionary principles," advised him to leave the

country. Antoine fled to Hamburg while his aunt and uncle,

the latter of whom was in seriously ill health, stayed

behind. Josef died in Bonn on March 5, 1795. Reicha would

never again see his aunt, the Elector, or any of his

friends with the exception of Beethoven.

In Hamburg, Reicha became immersed in musical

composition and the "proper" instruction of it, and

subsequently stopped performing. He seriously contemplated his philosophical approach to the pedagogy of theory and

composition and collected materials that he would use for his future treatises. He was seeking the most precise and direct method for instruction and felt that his studies of mathematics had given him the necessary analytical structure for this endeavor.

Above all he wanted to devote himself fully to his compositional pursuits, but soon realized that this would not afford him a living. Therefore, Antoine met his material needs by giving lessons in composition, harmony, and even the pianoforte while continuing to enjoy his studies of astronomy, physics, philosophy and mathematics.

Although he worked assiduously composing numerous instrumental and vocal works, Reicha was cognizant that he lacked the necessary skills to successfully promote himself and his works. He surmised that this was the reason for which he was not recognized until later in his life. The uncertain life of a composer led him to caution other aspiring composers :

1. To realize as fully as possible that his physical existence does not depend upon composition. 2 . Not to have the desire to grow rich by this means. 3. First of all to satisfy his own genius and consciousness by composing, and not to let himself be dissuaded or discouraged by his contemporaries.

All of Antoine's works for two, three, and four flutes were composed during his stay in Hamburg. The major works that Reicha composed during this Hamburg period included

'Laing, op. cit.. 303.

10 Symphonies Op. 41 and 42 that would earn him success in

Paris. He also composed the operas, L* ermite dans l'île

Formose (which has not survived) and Obaldi ou les

Française en Egypte. He originally expected to present

Obaldi in Hamburg to the visiting French company whose manager was the singer, Pierre Jean Garat, and the director was the violinist, Pierre Rode^’. However, on the advice of a French émigré, Reicha departed to Paris in 1799, believing that this opera would be successfully produced there.

Reicha arrived in Paris shortly before Napoleon's return from his Egyptian battle. "The hated rule of the

Directory brought confusion to the county and made peaceful pursuit of the arts most difficult."^ The political turn of events were partly responsible for the rejection of

Obaldi. however, Reicha asserted that although the libretto was rejected, "the music was acclaimed."'" Reicha set a

'"Sotolova, op . c it.. 13.

^'Ibid. Pierre Jean Garat, 1764-1823, was a French tenor-baritone and eventually taught vocal music at the Paris Conservatoire. During the Revolution he left with Rode fore Hamburg, where he also had great success as a concert performer. Pierre Rode, 1774-1830, was a French violinist who was a Professor of the Paris Conservatory.

""Martin Dennis Smith, "Antoine Joseph Reicha's Theories on the Composition of Dramatic Music," Ph.D. dissertation. (New Jersey; Rutgers University, 1979) 14

""Sotolova, op. cit.. 14.

'"Laing, op . cit. . 307.

11 poem, L 'Ouragan ("The Hurricane") to music but was unsuccessful in acquiring a theater to present it.

Whereas his efforts for recognition as an opera composer were met with disappointment, Reicha had successful performances of his symphonies (Op. 41 and 42), overtures, and the Italian Scenes composed in his Bonn days. "The two French virtuosi, Rode and Garat, with whom

Reicha had become acquainted in Hamburg, were instrumental during this time in providing opportunities for the performance of his music.Reicha composed Twelve Fugues for piano around 1799. He dedicated this composition to

Méhul, Cherubini, Gossec, Lesueur, and Martini, then teachers at the Paris Conservatory. Reicha maintained an interest in the compositional style of the fugue throughout his career.^

Discouraged by his unsuccessful attempts in securing performances of his operas, and ill with a stomach ailment,

Reicha left for the valley of Montmorency. He spent one year there in the company of the violinist Rode, the singer, Grassini, and the Duke de Laviano. He depicted this period as one of the happiest of his life."

"Smith, op. cit.. 14-15.

"Noel Magee, "Anton Reicha as Theorist", Ph.D. dissertation, (University of Iowa, 1977) 9.

"Laing, op. cit.. 307.

12 Reicha departed for Vienna in 1802. Reicha probably assumed that this important cultural center would be an excellent location to further his career. In Vienna,

Reicha first visited Joseph Haydn, whom he had met earlier in Bonn, when Haydn was traveling to England, and again in

Hamburg, upon Haydn’s return. Reicha greatly admired Haydn and although Haydn no longer gave formal lessons, Antoine learned a great deal by listening to this esteemed composer discuss harmony, variations, counterpoint, and the fugue.

As a result, a close friendship developed and Reicha claimed that he introduced many people to Haydn including

Cherubini (who later became a colleague of Reicha at the

Paris Conservatory), the French Secretary of State, Maret, and Baillot (a famous violinist who subsequently studied composition with Reicha in Paris) Reicha refused a position to join the court of Prince Louis Ferdinand of

Prussia because he did not wish to leave Haydn.

In Vienna, Reicha benefited from his connections in

Viennese social circles. He renewed a relationship with

Beethoven and cultivated friendships with Salieri and

Albrechtsberger. Prince Lobkowitz, an ardent patron of the arts, had the music from L 'Ouraaan performed with full orchestral accompaniment at his home. Reicha complained though that this was not the public performance that he so

‘Magee, op . cit. . 11.

'Laing, op. cit.. 8

13 fervently sought for his opera. Antoine was also received

by the Empress Maria Theresa, the mother of Marie Louise

whom Napoleon had married. She gave Reicha an Italian

poem, Arqine. Regina di Grenata. written by the celebrated

poet Metastasio. He set this libretto to music and it was

first performed by the Empress in her private quarters.

During his six-year sojourn in Vienna (1802-1808),

Reicha claimed to have composed more than fifty works of

which the majority were published by Breitkopf & Hartel.

"Of Reicha's many Vienna compositions only a few were

issued in print, the others remaining in manuscript form,

sometimes incomplete."'* Reicha confessed that "I had

always had a peculiar aversion to taking the steps necessary to have my works performed. I considered this a waste of time, preferring to remain at work in my study."''

Some of the works that Reicha composed in Vienna, other

than those previously mentioned, include a requiem, an

oratorio, a cantata, Leonore. a set of fifty-seven variations for piano, six string quintets which brought him

fame in Vienna, and thirty-six fugues for piano.

Reicha dedicated his Trente six fugues pour le pianoforte, composées d'après un nouveau système (published

in 1805) to Haydn and prefaced it with a lengthy dedicatory

'Sotolova, op . cit.. 32.

’Laing, op . cit.. 319.

14 poem. This compilation consists of the twelve fugues composed in Hamburg and Paris which had been introduced in

1799. In these fugues, Reicha anticipated future compositional styles with his use of unusual time signatures and unconventional fugal answers to intervals not limited to a fifth above or a fourth below. Reicha asserted that the publication of these fugues "roused a veritable storm of discussion."'®

In his extensive introductory notes, Reicha is chiefly concerned with defending Nos. 20, 24, and 28, written in 3/8 plus 2/8, 4/4 plus 3/4 and 5/8 plus 2/8 time respectively. He stresses that none of these time patterns are new, being a combination of two familiar ones. He was aware that mixed rhythms occurred in folk songs and dances in many parts of Asia, and examples were known in Switzerland, the Bay of Biscay region, Greece and elsewhere...Reicha points out that it was not ignorance of harmony that led him to write fugues as he did. On the contrary, it was only after years of studying baroque and classical harmony that he had resolved to compose them in a new ways, with non-traditional choice and treatment of themes and with modern harmony."

The cantata, Leonore. which was based on a short poem of Bürger, was not allowed to be sung in public due to

Viennese censorship. Thus, Reicha decided to travel to

Leipzig in hopes of having his cantata performed there. In route he stopped in Prague to visit his mother, "whom he had not seen since, as a child of eleven, he had made his cruel departure without benefit of a farewell."" After a

'=Ib_id.

"Sotolova, op . cit.. 23 and 25.

"Laing, op. cit.. 10.

15 few days, he continued his journey to Leipzig. A day before the premier of Leonore. "on Sunday, October 19,

1806, French troops entered the town, thus prompting the cancellation of all musical entertainment."^' It was four months before Reicha could safely return to Vienna.

Antoine returned to Paris in 1808, fearful that Vienna could become enmeshed in war. France became his permanent home and he acquired French citizenship in 1829. In his memoirs, Reicha stated that he believed that he enjoyed a very distinguished reputation in France due to the large number of pupils he trained there, the teaching manuals that he published on music theory and techniques of musical composition, and the twenty-four woodwind quintets that he composed and had performed in France.'-

Reicha stated that he "found a method for teaching all branches of musical composition in a clear, concise manner."" Consequently, a number of established musicians in Paris sought out Reicha for further study in composition.

Although they had previously taken some courses in composition, they were surprised and delighted with this new method of teaching and spoke of it everywhere with enthusiasm. This was sufficient to bring my method into widespread popularity, because the first people who propagated this method were exactly the artists who were in a position to judge it, and judge

"Smith, op. cit., 31.

"Laing, op. cit.. 11.

16 it impartially; included in this group were Rode, Vogt, Baillot, Dauprat, Habeneck Sr., and a great many others.“

Many of Reicha's musical companions held privileged positions in Paris following the first years after the

Revolution. The French composer, François-Joseph Gossec, founded the Concert des amateurs in 1769, and in 1784 organized the Ecole Royale de Chant. In 1789, Gossec was made musical director of national celebrations, and his assistants included Jean-François Lesueur, Luigi Cherubini,

Etienne Nicholas Méhul, and Charles-Simon Catel.'- Bernard

Barrette organized a musical band of the National Guard.

In 1793, this officially became known as the Institute

National de Musique, and in 1795 was reorganized as the

Conservatoire, which also included the personnel of the

Ecole Royale de Chant. "The early achievements of the

Conservatoire were the successful training of a generation of instrumentalists, publication of many tutors and

^‘Smith, op . c i t .. 32-33. (Rode mentioned on page 11 of this document) . Baillot was a distinguished violinist who wrote L'art du violon. Gustave Vogt studied and later taught oboe at the Paris Conservatory. Louis Daupraut studied and later taught horn at the Paris Conservatory. Francois Habeneck was a violin pupil of Baillot and then later an instructor of violin at the Paris Conservatory.

'Sotolovâ, o p . cit.. 33.

17 establishment, of a free library. Sarrette was appointed as director, and LeSueur, Gossec, Méhul, Cherubini, and

Grétry were designated as teaching inspectors.

With such invaluable contacts, Reicha's Symphony in F was included on a program of a Conservatory concert in

1809. His symphony received favorable reviews and was described as being "remarkable in melody and harmony.

The first two woodwind quintets that Reicha composed were also performed in concerts at the Paris Conservatory beginning in 1814. Joseph Guillou, flute, August-Gustave

Vogt, oboe, Jacques-Jules Bouffil, clarinet, Louis-François

Dauprat, horn, and Antoine-Nicola Henry, bassoon, were members of the quintet for which Reicha wrote his twenty- four quintets and faculty members at the Conservatoire.

Reicha dedicated his Six Quartets for Flute. Violin. Viola, and Cello. Op. 98 to Guillou. With backing of friends like these, Reicha was appointed as Professor of Counterpoint and Fugue at the Paris Conservatory in 1818. Reicha's appointment, however, was met with bitter criticism and antagonism, particularly from the theorist, Fétis. His opponents considered him "far too radical and accused him of having 'dangerously emancipated tendencies'."^ Berlioz

^®James Anthony, "Paris, education," New Grove Dictionary of Music and Musicians, ed. Sadie (London: MacMillan, 1980) 218.

’’Smith, o p . cit. . 33 .

’“Simpson, op . cit. . 15.

18 stated later in his memoirs: "Reicha was an admirable

teacher of counterpoint. He was extremely clear and never wasted words. I learnt a lot from him in a short time.

Unlike most teachers, he hardly ever failed to give his pupils the reason for the rules he recommended to them, wherever this was possible."’’

In 1818 Antoine married a Parisian, Virginie Enaust, and they had two daughters, Antoinette and Mathilde.

Reicha received official recognition for his comprehensive life’s work with the award of the Order of the Legion of

Honor in 1831 (Chevalier de la Légion d'Honneur) and was elected for membership to the French Academy in 183 5

(Académie des Beaux-Arts), one year before his death in

1836 .

^’D. Cairns, Berlioz the Making of an Artist. (London : Deutsch, 1989) 202.

19 CHAPTER 2

HISTORICAL CONTEXT

The period in which these quartets were written, in the early nineteenth century, was the dawning of a new breed of professional virtuosi who played for the public, instead of elite audiences of the court, and who gained a loyal following. "For perhaps the only time in history, wind soloists enjoyed status commensurate with that of their string colleagues.Previously, Michel Blavet

(1700-1768) was perhaps the most renowned flutist. The

French flute virtuosi of the early nineteenth century included Louis Drouet, Joseph Guillou, and Jean-Louis

Tulou. The ideal French tone at that time had a "silver purity and sweetness of tone rather than volume.""^

Reicha dedicated these Six Quartets "to his friend

Guillou" ("à son ami Guillou"). Joseph Guillou was a private composition student of Reicha, and was the flutist in the woodwind quintet for which Reicha wrote his twenty- four woodwind quintets. According to Laing, "Joseph

'"Nancy Toff, The Development of the Modem Flute. (Urbana: University of Illinois Press, 1979) 44.

"H. Macaulay Fitzgibbon, The Story of the Flute. 2nd ed.,(London: William Reeves Booksellers, 1928) 217.

20 Guillou has received neither kind nor thorough treatment at the hands of historians."'- Guillou had formidable competitors in Drouet and Toulou, and "many writers placed

Tulou above all other flutists of that time.

Guillou was born in 1787, entered the Conservatoire in

1797, and in 1798 he studied with Devienne and obtained second prize. The Conservatoire was reorganized the same year that the flute professors Devienne and Hugot died.

Devienne died in an asylum and Hugot stabbed himself and jumped from a window. Wunderlich became the only flute teacher and as a result the number of students were dropped, Guillou being one of the students dropped.

Guillou, however, reentered the Conservatoire after 1803, studied with Wunderlich, and in 1805, he received first prize. In 1815, Guillou received an appointment as second flute to Drouet at the Chapel Royal and in the same year he was second flute to Tulou at the Opera. Drouet left the

Chapel Royal to concertize, and subsequently Guillou moved to first chair.

Guillou was elected as Professor of Flute at the

Conservatoire following the death of Wunderlich in 1819.

Tulou was passed over for this appointment because his political views were not popular with Louis XVIII. Tulou,

^Patricia Ahmad, "The Flute Professors of the Paris Conservatoire from Devienne to Taffanel," M.A. Thesis. (Denton: North Texas State University, 1980) 39.

"Laing, op. cit.. 51

21 angry over this appointment, resigned from the Opera orchestra in 1822, and as a result, Guillou acquired the first-chair position there as well. "Partisan bitterness arose, which probably prejudiced accounts of Guillou's performance."" In 1826, Tulou was encouraged to return to his former position at the Opera, and in 1828, Guillou resigned from the Conservatoire and his orchestral positions and went abroad concertizing. Guillou abandoned music as a profession for awhile and started in business as a dyer and cleaner" and eventually came back to the music business writing and editing articles for periodicals.

Tulou became the next Professor of Flute at the

Conservatoire.

During the latter part of the 18th century, the flute developed a great deal : a tone hole was drilled for each chromatic note, a key system developed, the foot joint was extended to provide low C, and a separate hole ended the cross fingering for one-line C. In Reicha's time :

the flutes most in favour ranged from four-to eight- keyed instruments (though even the one-keyed flute continued to flourish), whilst there were also instruments of very considerably greater mechanical complexity. A host of 'improvements’ was developed by

"Richard Rockstro, The Flute (London: Rudall, Carte and Co, 1928) 591.

22 different players and makers: Tromlitz...discusses an eight-keyed instrument, even though the author himself preferred a Quantz-type instrument.*"

Though the eight-keyed flute is generally considered to be the standard instrument of the late eighteenth and nineteenth centuries, the flute was, in fact, far from standardized. The one-keyed flute prospered well into the nineteenth century, side by side with the four-, six-, and eight-keyed models. Several tutors of the era treat the one-keyed model as the norm, appending supplementary information for "additional" keys. One reason for the survival of the one-keyed flute was its lower cost.*'

In the Six Quartets. Opus 98. Reicha appears to have

composed for the range of the one-keyed flute that he used while performing. Reicha used the D below the staff in the

Quartets but did not employ the low C sharp or C natural.

The flute enjoyed immense popularity in the early nineteenth century. Probably due to the glorified flute virtuosi touring Europe with ample success and the improvements in flute design and pitch, many amateurs were taking up the flute with enthusiasm. "As a consequence of this popularity, a considerable amount of music was both transcribed and composed for the flute."*®

*®Colin Lawson, "Beethoven and the Development of Wind Instruments." Performing Beethoven. Edited by Robin Stowell, (Cambridge: Cambridge University Press, 1994) 83

* ■'Nancy Toff, The Flute Book. A complete Guide for Students and Performers with a Comprehensive Repertoire Catalog (New York: Charles Scribner's Sons, 1985) 48

*®Toff, op. ci t .. 44

23 Reicha stated that he composed these Quartets. Opus 98 for flute lovers (or amateurs) .

In the twentieth century, the terms "amateur" and "dilettante" have acquired a largely derogatory meaning, implying lack of musical ability or taste. While some eighteenth-century music-making undoubtedly was "amateurish" in that sense, the terms themselves did not imply this but were used in their literal meaning. An "amateur" was simply a "lover" of music whose training and ability may or may not have equaled that of a professional. Subtle, though not consistent, distinctions were made by the musicians themselves. In general, the terms "amateur" and "dilettante" (related to our word "delight") implied interest primarily in performance itself-playing and singing-whereas a connoisseur's interest extended to knowledge beyond this, to the meaning and structure - the "why" of a composition.

The extent, never equaled before, to which amateurs brought serious music-making into the home is among the most significant contributions to the musical life of the Classic era."’

The business of music printing benefited from growing amateur participation in the arts. "About 1765, the

Leipzig printer, Immanuel Breitkopf invented a new method of typesetting that made it possible to publish keyboard music and simple songs in volume at a substantially lower price. This resulted in an expanded circulation of printed music for amateur consumption, consisting of chamber music in separate instrumental parts.

"’Reinhard G. Pauly, Music in the Classic Period (Englewood Cliffs; Prentice Hall, 1988) 70

’“Leon Plantinga. Romantic Music (New York: W.W. Norton & Co., 1984) 10

24 As a consequence, the instrumental combination of flute, violin, viola, and cello became very popular in the second half of the 18th century and early I9th century. As composers had substituted the flute for one of the violins the Baroque trio sonata, now with the advent of the string quartet, they frequently wrote for flute in place of the first violin. Mozart wrote his Quartets with Flute during his stay in Mannheim and in Paris (1777-1778), and Haydn's compositions for this combination were widely distributed.

These were the models followed by other composers writing for flute and string quartet that continued into the first decades of the I9th century.

In learning of the origins of flute quartets, it is necessary to have knowledge about the origin of the string quartet and the composer who crystallized the form: Haydn.

Reicha composed these flute quartets in the "style of

Haydn" and Mozart dedicated his first quartet, K. 80, to

Haydn. "It was my duty," he said, "because I have learnt from his how one should write a quartet.Haydn did not invent the form of the string quartet "but he made it an infinitely higher achievement."^

“Reginald Barrett-Ayres, Joseph Havdn and the String Quartet. (London: Butler & Tauiner, 1974) 7.

“Alec Robertson, Chamber Music. (Baltimore: Penguin Books, 1957) 14.

25 Music for strings in four parts had been written throughout Haydn's youthful life and can usually be classified into two main types. One was orchestral in conception since the strings in four parts were the foundation of every orchestra. This four-part music for strings would usually have the conductor of the orchestra directing the performance from the harpsichord and was counted on to support and fill in the harmony from the bass line. The other type of four-part music for strings were like those of four independent concerto soloists. This writing for four-part strings was not the generally accepted chamber music combination of the seventeenth and early eighteenth centuries. Instead, the trio sonata, made up of two soprano instruments, bass, and harpsichord continue was the most common chamber music combination written by the great masters of that time.”

Haydn may have remained true to the texture of the trio-sonata with the harpsichord had it not been for the need to make a living, which meant composing outdoor music.

"Previously music was intended for performance in the church, in the theatre, or at court; now in sharp contrast there is the music of the streets...In 1757, Joseph Haydn accepted an invitation to join a summer music-making party at the home of Baron von Fürnberg."” Haydn found himself

” Robertson, Ibid. 16.

” Barrett-Ayres, op. cit.. 4.

26 having to eliminate the keyboard continuo due to the

limitations of outside performance. As a result he had to

explore the capabilities of instruments placed in the tenor

register. The compositions for these outdoor concerts were written for whatever instruments were available to the

composer, whether it be violins, violas, wind instruments,

and string basses. "Combinations of winds and strings occupy a middle ground between the highly refined sound of

the string quartet and wind-instrument types such as the

sextets and octets. The most popular of these types was that of flute, violin, viola, and violoncello..."”

Many of these quartets contained some ingredients of sonata form which emanate from the sonata da chiesa, the chamber sonata, and the sinfonia. The minuet and trio stems from the dance movements in the suite. Music became more dramatic, largely through the immense popularity of the opera.

In an effort to make "true" quartets and to make them more accessible for the general flute playing public,

Reicha moved away from the concept of dominant virtuosic solo flute writing with string accompaniment to what he believed was an equal partnership between all four voices.

'Laing, op. cit.. 40

27 CHAPTER 3

REICHA'S COMPOSITIONAL PRINCIPLES APPLIED TO SIX OUARTETS. OPUS 98

Antoine Reicha acquired prominence in his lifetime primarily due to his compositions for woodwind quintet and his theoretical treatises. Reicha explained his approach

to composition in these discourses. His first major theoretical work, Traité de mélodie, was originally printed

in Paris in 1814. Cours de composition musicale was published in Paris in 1818, Traité de haute composition musicale in 1824 and Art du compositeur dramatique in Paris in 1833. These treatises were subsequently published numerous times and translated in various languages.

Several theorists have studied Reicha's didactic works as a basis for their dissertations.

In the foreword of Traité de mélodie (subsequently referred to in this document as TM), Reicha argued that

"the study of harmony must be preceded by the study of melodic structure.In the Cours de composition musicale

(CCM) , Reicha provided a tutorial of what he deemed to be the integral components of composition. According to

’Sotolova, op. c it. . 39.

28 Sotolova, Antoine Reicha explained in Traité de haute composition musicale (THCM) the "nature and creation of musical ideas and then categorizes them according to their structure and function within a piece.According to

Smith, in the Art du compositeur dramatique (ACD) Reicha

"describes in detail the steps a person must follow in order to become a successful composer of dramatic music."”

Reicha referred in his treatises to his own terminology employed in melody. The term dessin (or design) denoted a "little idea or a motive or a figure of not less than two notes."*’ This melodic unit provides a foundation for addressing motivie development, "which for

Reicha becomes an inexhaustible resource for creating variety while maintaining unity within a composition.

His usage of the term motive (motif) is more equivalent to the modem employment of the term theme.“ Reicha stated that a theme :

”Jo Renee McCachren, "Antoine Reicha's Theories of Musical Form," Ph.D. dissertation. (University of North Texas, 1989) 25.

”Smith op . cit.. v.

” Magee, op. cit.,60.

”McCachren, op . cit.. 24.

“ Ian Bent, Music Analysis in the Nineteenth Century (Cambridge: Cambridge University Press, 1994) 153.

29 can be divided into different phrases or designs, which are longer or shorter,...and by a skillful repetition of these, it is possible out of a motive of 8 measures to make a very interesting piece of 80 or 100 measures or even more. Herein is the great secret of the celebrated Haydn and of the Art, a secret of great importance.®*

Reicha elaborated that "in music, to develop, means to draw a great part from an idea; from a phrase ; from a motive or a theme. Thematic schemes are based on what

Reicha labeled idées mères and idées accessoires. Idées mères represent "the most extended, the most complete, and the most important musical ideas in a composition."®®

Idées accessoires are usually short and often incomplete that serve as connections between idées mères as well as between contrasting keys.®®

Martin Dennis Smith described Reicha's utilization of idées mères and idées accessoires. He stated that Reicha

"confirms the role of the main theme as the generating source for thematic development and unity within any piece of music. Cohesiveness and at the same time variety are

®^Anton Reicha, Treatise on Melody, translated from the Italian of Antonio Reicha by Edwin S. Metcalf. (Chicago: E.S. Matcalf & Co, 1893) 92.

'Ibid.

‘McCachren, op. cit.. 57.

'Ibid.

30 obtained through the skillful recalling or repeating of

these few main themes. Further variety comes from the

employment of accessory themes.

There are many examples of Reicha's employment of

these principles as compositional building blocks in the

Six Quartets for Flute. Violin, Viola, and Cello. Op. 98 .

The Quartet N o . 1 in E minor (refer to the complete score

in Appendix A) will be the basis for discussion in this

study of Reicha's approach to these and other primary

theories based on his treatises. Examples from the other quartets will be interpolated as further evidence for the discernment of his compositional style in this genre. This knowledge will help the performer in the interpretation of

Reicha's quartets.

’Smith, op . cit.. 196.

31 Below are two tables displaying the movements and key relationships of the Six Quartets:

M v t . 2 I Tempo

Vol.

1 em Allegro mod EM Larghetto Major mode 2 AM Allegro DM Adagio IV 3 DM Adagio AM Allegro V

V ol. II

1 gm Allegro EbM Largo VI 2 CM Andante (var) am Allegro rel. min. 3 GM Allegro mod. BbM Largo bill

Table 1 - Key of Movements-Relationships of 2nd to 1st mvts.

N o . mvt. 3 Tempo mvt. 4 Tempo

Vol. I

1 EM/AM (trio V) Minuett-Allegretto em Allegro 2 AM/DM (trio IV) Minuett-Allegro AM Allegro 3 f#m/F#M(trio I) Minuett-Allegretto DM Allegro

V o l . II

1 cm/CM (2trios) Minuett-Allegro gm Allegro 2 FM Aria CM Allegro 3 DM Fugue-Allegro GM/gm Adagio/ Agitato

Table 2 - Key of 3rd and 4th Movements

32 Quartet in e minor

The first movement is marked Allegro moderato, in 4/4 time, and in the key of e minor. It is in the form of what

Reicha titled as la grande coupe binaire or what is known today as early sonata form. "The most characteristic feature of la grande coupe binaire is its division into two principal parts. The first major part serves as the exposition of invented ideas while the second, subdivided into two sections, presents the development of ideas followed by their transposition to the original tonic."*’

Reicha expounded that this form is used "in instrumental music for the first pieces of sonatas ; of duets; of trios ; of quartettes; of introductions; of symphonies; and for the great solos ; and for instruments. Very often the first part (and sometimes also the second) is repeated, when melodies are composed of this dimension for instruments . . .

This movement begins in e minor with an introduction by the strings. In all six quartets with flute and strings, approximately half of the movements begin with the idée mère or motivic introduction with the strings. The violin introduces the first main theme in the first measure. The flute responds by taking over the main theme

’McCachren, op. cit.. 191.

"Reicha, op. cit.. 79.

33 in measure 8. The violin and viola accompany wich adjoining sixteenth-note figurations. In the beginning, the cello line accompanies with a quarter-note arpeggiated figure.

Opening the piece the motif, or premier idée mère, consists of a complete period closing on the principal tonic. Because this initial idea is the most important melodic statement of the entire piece, Reicha carefully explains several techniques for prolonging it. ...It can be simply repeated through modification of such elements as dynamics, register, or instrumentation.**

Within this brief section, Reicha took two simple dessins and by means of variations of repetitions created the premiere idée mère. The first dessin appears in the first measure of the violin part. As Reicha stated in the

Treatise on Melody, dessin figures can be repeated with the same or different notes, and this rhythmic figuration is repeated in measures 2 and 3 . In measure 4 another dessin is introduced in the violin part. Measures 5 and 6 repeat the same dessin with a slight alteration by means of ornamentation. In measure 8, the flute simply repeats the violin phrase made by these simple dessins with changes in the accompaniment of the violin and viola.

There is a bridge in the flute and string parts from measure 14 through measure 17 which ends in an e minor cadence.

'McCachren, o p . cit.. 191.

“Reicha, op. cit.. 93.

34 The second theme appears in the mediant key of G major in the flute part in measure 18. This theme is basically triadic in nature. The strings merge to render the same motive through measures 23 and 24, which then leads to the accessory ideas.

In measures 25-29, Reicha demonstrated that "melodic manipulation includes not only fragmentation of long ideas but also expansion of shorter ones. It may encompass modulation, combination of ideas, contrapuntal elaboration, reharmonization, different orchestration of ideas, and alteration of accompanying figures."’^ The motives that are presented in measure 25 are repeated in the next measure, then in another voice and sequentially over the next 5 measures. For example, the flute presents a sixteenth note triadic figuration of G Major in measures

25, 26 and 27. The cello line takes over this pattern in measures 28 and 29. In measures 27-29 the flute seizes the violin motive from measures 25-26 one octave higher. The violin takes the viola motive from measures 25-26 and displays it one octave higher in measures 27-29.

In measure 31, 32, and 33 the flute and violin are paired in octaves and the viola and cello are also paired in octaves. Measures 32 and 33 are exactly duplicated as are measures 34 and 35; and 36 and 37. Measure 34 brings out F# major which is the dominant/dominant in e minor.

■'McCachren, op. cit.. 86.

35 Measures 41-50 is a closing statement of the exposition

signifying a b minor cadence. In la grand coupe binarie in

a minor key, "the first part terminates either in the

dominant minor or the mediant major.

Several idées accessoires following the second idée mère can prolong the exposition further. They may modulate transiently through several keys, closing finally in the dominant. If this first principal part is repeated, as frequently happens in the first movement of the symphony, quartet,...a brief passage may be fashioned to create a smooth transition for a return to the opening material.^

The second section begins with a condensed version of

the pitches from the flute line of the second idée mère which is first presented in measures 17 through 20 in the exposition. The pitches in measure 51 are inverted from measure 17. Measure 55 contains a transposition of the motive from measure 53 in order to modulate to the key of a minor in measure 57. The flute and cello join to present

the rhythmic motive from the second idée mère. The flute

and viola display this same motive one half step lower in measure 58. Measures 59-60 repeat measures 57-58. The

flute and violin render this motive in measure 61. The a minor chord in measure 61 now serves as a pivotal IV chord

in e minor. In measures 64-67 a series of diatonic 7ths

""Reicha, op. cit.. 79.

"^McCachren, op . cit.. 194 citing Reicha, Traité de Haute Composition Musicale. (Paris: Zetter and Cie., 1824- 25) 298.

36 are presented with root movements by fifths. The flute clearly establishes e minor with arpeggiation in measures

67-68 .

In measures 69-70 the flute and cello move in contrary motion. Measures 71-72 duplicate this pattern. Measure 73 begins a chromatic movement which will cadence in C major in measure 81. Reicha begins a series of transient modulations in measure 81-89 through a sequence of similar rhythmic patterns in the strings and a recurring rhythmic pattern in the flute line. Reicha described transient or passing modulations as only touching a scale in passing but not defining a new tonic and key.’* In measures 89-93 a V- i progression emerges with the strings and flute alternating motives. A bridge from the development to the reprise begins with a chromatic emphasis in measures 93-97.

In measures 97-100 the flute has a descending chain of trills, which leads to the recapitulation in e minor in measure 101. This complies with Reicha's writings that state that the development section "is characterized by ceaseless modulation...The concluding pause on a dominant pedal followed by an additional connecting passage prepares the return to tonic.

The final section--the "resolution" of the piece..usually begins with the initial motif in the original tonic... The motif may be abridged or even

‘Reicha, TM op. cit. . 4.

^McCachren, op. cit.. citing Reicha, op. cit.. 298.

37 partially transposed. The ideas of the bridge passage may also reappear here, though possibly rearranged or transposed... In general, all the ideas previously presented..in the first part reappear...This transposition may incorporate such additional modifications as reversed order of ideas, different dynamic, rearranged parts, altered harmony or accompaniment, varied melody, or a continued development of ideas in a manner different from the first section.''®

Reicha applied these theoretical practices in this recapitulation. The recapitulation, beginning in e minor in measures 101, repeats measures 8-13 with the melody in the flute line. In the pickup to measure 108, the cello takes over the melody, with the flute, violin, and viola presenting the accompaniment. Measure 115 duplicates measure 15. The flute, violin, and viola then exchange the rhythmic motives of measure 115 in measures 116-118.

Measure 123 conveys the ideas from measure 25. In the later section, however, the submediant (C Major) is emphasized whereas in the earlier section, the mediant (G

Major) is emphasized. In measures 132-133, a V-l progression occurs. A neapolitan sixth is highlighted from measures 134 to the beginning of 136. Measures 142-148 imitate measures 42-50 with the emphasis this time on the tonic to signify the close of the movement in the tonic key.

The second movement is marked Larghetto, is in 6/8 time, and in the key of E Major. In the larghetto, Reicha

^ Ibid.

38 utilizes a few motives as the basis for this movement.

Reicha's rationale for developing a theme in a slow

movement is described in his treatise on melody:

A great development of a theme can only have place in a piece of quick movement. In species of slow movement... only a partial development of the theme can be made, that is, not more than one or two designs (dessins) can be developed; because it is often the case that there is not sufficient time for it, and the introduction of such would be intrusive.

If these repetitions are not well employed the effect will be monotonous... It is necessary in developing a motive or a design (dessin) to modulate well and to know how to weave the designs (dessins) with other ideas..."

The eighth-note motif that is introduced in E major in

the violin in the opening measure will serve as one of the primary foundations from which Reicha constructs this movement. In the measures 2-4, the flute motif consists of ascending and descending 32nd note arpeggios separated by eighth rests which outline the tonic and dominant chords.

The violin, viola, and cello delineate the chords.

Measures 1-4 constitute the first idée mère. This idée mère is varied beginning on the fourth beat of measure 5 by expanding the opening violin motif.

Measures 8-12 serves as a bridge to the next dessins in measure 13. The flute begins this bridge with a series of running 32nd notes in measure 8. This progression first passes through the dominant (B major) in measure 10 and the

"Reicha, IM op. cit.. 95-96

39 dominant of the dominant (F# major) in measure 11, with the strings in octaves. By measure 12, when the flute joins the strings in octaves, Reicha is leaving the key of F# for the key of D Major in measure 13. This typifies ways in which Reicha composed modulations. He stated in the CMC that a sustained unison pitch (organ point), a short unison passage (or in octaves), or a chromatic passage may effect a modulation between very remote keys.

The rhythmic motive from the 4th beat of the first measure is brought back in measure 13. The flute initiates a syncopated pedal point on A (dominant of D) which is similar to the pedal point in the first movement in measure

134. The strings continue the bridge in measure 16 with

32nd notes that outline F# and C# Major, finally concluding in measure 19 in F# Major (V/V).

The modulatory section begins in the pickup to measure

20 after a sixteenth rest. The A# from measure 19 is changed to A natural in measure 20 producing a change to F# minor. Reicha stated that modulation can also take place after changing the mode of the key and that rests may also be employed.” Measure 21 duplicates measure 20 with the flute and violin exchanging sixteenth note motives. These

” Anton Reicha, Course of Musical Composition. Translated from the original (with remarks of Carl C z e m y translated from his German edition) by Arnold Merrick, and edited by John Bishop. (London: R. Cocks and Co., 1854) 63-68 .

” l M d , 66.

40 motives continue in stepwise motion to G# Major in measure

22. A pedal point on G# in the cello line begins in measure 24.

A modulation back to the key of E Major occurs after the fermata in measure 28, leading to the recapitulation of the opening motive in the 4th beat of measure 29. The 4th beat of measure 30 through measure 31 recall the patterns presented in measure 13 . This time the flute has a pedal point on B to accentuate the dominant. Following the fermata in measure 34, the violin and viola reiterate the accompanimental figures previously stated in measure 2, with the cello and flute exchanging the arpeggiated motifs.

Measures 40-42 repeat measures 5-7. Measures 43-47 vary and expand the ideas presented in measures 8-10. The motif from measures 16-18 in measures 47 through measure

53. The violin, viola, and cello alternately answer the flute in measures 50-53. A bridge in the flute line in measure 54 leads to the coda in measure 55. The coda summarizes and alters the ideas displayed in measures 40-

54.

41 Reicha defined minuet in his treatise as follows:

The minuet is characterized by lightness and frivolity, symmetry, and a lively tempo in addition to its particular formal arrangement. The trio which generally follows the minuet constitutes "a kind of second minuet which anticipates the return to the first and prolongs the piece. Frequently such a trio also employs "la petite coupe binaire" and almost always provides tonal contrast with the dominant, subdominant, submediant or parallel minor key areas. The conclusion of the trio, the minuet da capo ensues. Such a concise form is not conducive to extensive development of thematic ideas.®”

Bücken described the minuet from the Quartet in e minor in his biography of Antoine Reicha. He stated that:

The minuet brings a theme of such heartfelt sensation, that it can be counted to the best ideas of our master. The short trio does not even come close to that level.

The minuetto is marked Allegretto and is in 3/4 time.

The first theme of the minuet begins in E Major in the violin line, measure 1. The flute repeats this theme one octave higher in measure 8. In measure 17 the violin presents a modification of this theme by beginning the motive one fifth higher.

The repeats are written out in this minuet with altered scoring. The second section of the minuet begins in measure 25 with the violin recapitulating the opening

®°McCachren, op. cit. . 207, citing Reicha, THCM QP., cit., 311. Ernst Bücken, Anton Reicha: Sein Leben und seine Kompositionen Translated for this document by Gabriele Gierz. (Munich: Wolf, 1912) 122.

42 theme. In measure 32, the flute repeats the violin theme from measure 17 but one octave higher. Measures 42-48 reiterate measures 9-16.

The trio begins in the subdominant (A Major) with triplet patterns in the strings. Measure 56 ends this first section of the trio in the submediant (f# minor).

The second section contains the flute and violin trading the triplet theme.

In regard to the finale, Bücken stated that:

The last movement is related in the atmosphere with the first allegro, the invention is not original, and in parts has to be credited to Mozart. The structure of the movement suffers from an unclear arrangement.

The last movement is marked F inale-Allegro and is in

2/4 time. It begins in e minor with the strings introducing the main theme (idée mère) . The flute continues this main theme in measure 9, accompanied by the violin and viola. Alternately, the flute presents a chromatic descending line in measures 17-18, the violin repeats this one octave lower in measures 19-20, as does the cello in measures 21-22. The cello restates the main theme beginning in measure 24. The violin continues the theme in measure 32 and is joined by the viola in measure

34. In measure 38, the cello begins a pedal point on D, signifying D Major which will be the dominant of the progression leading to G Major in measure 49.

“Bücken, op. cit.. 122.

43 The second theme (idée mère) appears in measure 49 with the cello line outlining G Major (mediant of e minor).

The flute joins the cello in invertible counterpoint in measure 51, with the flute moving in contrary motion two octaves higher. The flute continues the line in measure 62 and begins a short canonic section through the other

instruments. The cello extends this with an outlining of chords from measures 74-90. A bridge passage follows from measures 91-119/120 with the flute and violin playing the melody. Measure 119 cadences on a B Major chord to ensure a smooth return to the beginning.

After a whole rest in measure 121, the second section begins with the order of themes reversed. Measures 122-136 transposes the second theme (measures 49-63) to the key of

Eb Major. As Reicha stated in CMC. "The longer the silence, the more agreeable the change of key."®’ The canonic section from measure 63 is recalled in measures

136-162, with the flute and violin paired, and the viola and cello paired. In measure 163, the main theme recurs in e minor in the strings.

In measure 195, Reicha again utilizes a whole rest to announce a new section and new key (E Major) . Reicha stated in his treatises that if the original tonic is minor, the second main theme may appear in the major mode.

The third section also consists of a reversed order of

’Reicha, op. cit.. 66.

44 themes. Invertible counterpoint is employed in measure

198, with the flute executing what was previously the cello line (m. 49), and the violin rendering the earlier flute line (m. 51). Measures 217-245 repeat measures 63-91. At measure 247, the viola restates the first theme in its original tonic, e minor. The cello imitates this motive in measure 254, as does the flute in measure 261.

The ideas from the bridge section (mm. 90-120) are repeated and expanded in the coda section beginning in measure 282. The flute, violin, and viola exchange the melody in octaves. The coda concludes this movement in E

Major.

Quartet in A Major

The first movement is marked Allegro, is in 3/4 time, in the key of A Major, and is in la grande coupe binaire form. The flute and viola, a third apart, introduce the idée mère while the cello initiates a counter melody. In measure 20, the violin repeats the opening flute line one octave higher, with the flute now playing one third lower than the violin. The viola presents the opening cello line

(See Example 1).

45 Allegro

vln

via

vcl

10

T i - f - r ; ------:— L i _ ------r . r . \=‘— -Kk.. I HR—'------■ —'■■■■ f 1------' 1 ------1------H ------1------i------h ------H = — i------:------1 i 1 ' 1 ' 1 1 1 1 1 1 1 " i 1 ^ u t* !

^ - i /------' f ü ^ = v = : ------— i l f ? = = 5^ ------:— ! i'" ' ' r r ^ ' T 1

------e ^ ------rR 'A ------r » - ^ — F =------h f ^ ------! *' 1— I— W — — — i - T - ^ — 1— u ------H ------H ------' 1 ' ' i *

15 20^ -A- 4 / ff TJ. a * »! g i e l

- r - T

» : T g I» ■» 1 »:3;p m 1—»-

2ZZ î»a»- ifc I I Example 1 - Quartet in A Major, first movement

46 The bridge section in the flute line leads to the second theme in the dominant (E Major). Reicha incorporates a pedal point in the cello line to establish this key.

The second section begins with the violin and viola performing the idée mère in E Major while the flute presents the countermelody. Transient modulations occur throughout the development, with the flute line predominating. The recapitulation occurs in A Major. The violin and viola execute the main idea while the cello plays the countermelody. The violin and viola repeat this theme one octave lower with the flute reiterating the countermelody.

The second movement is marked Adagio di molto, in common time, and is in D Major. This movement is essentially a flute solo with string accompaniment. This is one movement where Reicha's declaration that the Opus 98 quartets are for four equal instruments does not apply.

This movement can be categorized as a cavatina, a form used in slow movements that "consists of melodies whose period is lengthened or extended with such skill that a more developed piece results.""* The flute begins with a simple melody. By measure 8 the melody has arrived at the dominant (A Major). A written out cadenza for the flute is presented at the fermata (or what Reicha termed crowned points) . Measures 9-16 display an extended, ornamented

"*McCachren, op . cit. . 140 .

47 version of the melody and cadenza (see example 2) . A

simple chordal section is exhibited in the flute part after

the second fermata. The rest of the piece consists of an

elaborated version of this chordal section.

mf

m. zm- m. ^

m

Example 2 -Quartet in A Major, second mvt., flute line

The third movement is a Minuetto marked Allegro, in

3/4 time. It is in the key of A Major and is highly chromatic. Reicha again utilizes the pairing of the violin and viola in thirds to state the main theme. The flute responds with a brief commentary. Characteristic of

Reicha's style, these themes are repeated with altered instrumentation, transposition, and change of register. In addition, Reicha merges the instruments in octaves, a procedure he employed in che second movement of Quartet in e minor (see example 3) . The trio is in the key of the subdominant (D Major).

48 The finale is marked Allegro, is in 12/8 time and in

the key of A Major. The flute enters with a gigue like

theme in triplets for the first 15 measures. The cello

repeats this theme beginning in measure 16. The violin and viola accompany these themes. In the second theme, the

flute and cello move in contrary motion accentuating the

dominant/dominant and dominant (B7 and E Major). The

recapitulation is in canonic style.

Quartet in D Mai or

The first movement is marked Adagio un poco andante,

is in 2/4 time and in the key of D Major. It begins with a

slow movement that again features the flute. The violin

and viola begin the first movement with a dotted eighth motif (see example 5) that gives a processional feeling.

This theme is varied when the flute enters in an obbligato

fashion. Each time the flute enters, the flute line becomes more ornate (see example 4). Occasionally, the

cello repeats the ornamental flute line. The middle

section is in d minor.

49 Adagio un poco andante

vln

vcl

g

Example 3 - Quartet in D Major, first movement

50 Adagio un poco andante

-• è- #

É

Example 4 - Quartet in D Major, first mvt., flute

51 The second movement, marked Allegro non tropo is in

the key of A Major and cut time. The flute and violin

alternate technical patterns as well and complete each

other's melodic themes. The viola and cello accompany

throughout. The second theme is in the dominant (E Major).

The third movement is a minuetto marked Allegretto, in

3/4 time. It initiates with the strings introducing the main theme in F# minor. The second section of the minuet

transposes the theme one fifth higher to the key of C# minor. The trio is in F# Major.

The last movement marked Allegro is in 6/8 time, in

the key of D Major, and has the spirit of a folk dance.

The strings provide an eight-bar introduction. The flute enters in the ninth bar with a more elaborate version of

the introduction. The viola initiates through all of the

instruments. The second section develops the canonic motif. The third section brings back all of the previously

stated ideas. The flute is coupled with the violin, and

the cello with the viola. These pairs of instruments constantly exchange ideas.

Quartet in g minor

The first movement of tnis quartet is marked Allegro, is in 3/4 time, and in the key of g minor. This movement

is in la grande coupe binaire form. Similar to the Quartet in e minor, this movement begins with an introduction by the strings. In this quartet, however, the strings are in

52 unison. The flute introduces the idée mère in the seventh measure. The transition progresses to Bb Major. The

strings restate the opening introduction, now in the key of

Bb. The flute enters with the second theme back in the original key of g minor. An extended transition occurs,

initially with the flute and violin answering each other,

then the flute and cello. Several idée accessoires are generated leading to the conclusion of the first section in

the mediant key (Bb Major) (see Example 5 on next page).

The second section begins with the flute and violin executing a variation of the string introduction. The

flute presents a subsidiary theme in the key of Ab Major which is an extension of the idée accessoires from the first section then the violin repeats the subsidiary theme.

The main theme is restated the key of e minor and the

second theme is brought back in the key of c minor then developed. The subsidiary theme is reiterated in the key of G Major and the recapitulation in g minor is abridged.

The second movement is marked Largo, in 2/4 time and

in the key of Eb Major. This movement represents Reicha's ideal of quartet for four equal parts. Particularly effective is the way Reicha employs the flute in the lower register in unison with the strings (see example 6). In this movement, Reicha extends and develops one primary theme. The flute and viola often exchange ideas.

53 Allegro

fl

vin b

vcl s

— T A?Æ-

/

-34 um_ P ; .4— y -0 — m ------0 - 5 4 - m r r -w f sf s: N ; : S. # # g BE e — ar - r f m **

54 ; A , i 1 = î r* ' * lizza ,__ _ . P ~ ^ 1

P-

Example 6 - Quartet in a minor, second mvt., from Antonin Rejcha, Tre Ouartetti. edited by Jan Racek and Kurt Janetzky, (Prague: Statni Hudebni Vydavatelstvi, 1964)

The Minuet is marked Allegro, in 3/4 time and in the

key of C minor. The main section of the minuet is in

ternary form. The flute presents the main theme. The development of the theme is in G minor. There are two

trios in this movement, both in C Major. In the first

section of the first trio, the viola and cello have a pedal point in octaves on C. The flute and violin perform a simple tune, thirds apart, with folk style characteristics.

In the development of this tune, initially the viola and cello have a pedal point in octaves on the note A, while the flute and violin display the melody. The development is repeated with the role of instruments exchanged. The second trio becomes more spirited with quicker rhythms and grace notes.

55 The fourth movement is marked Allegro, in cut time, and is in the key of g minor. This movement consists of

24 7 measures.

The movement begins with a polyphonic texture, with links being formed between flute and viola on the one hand and violin and cello on the other. The intermingling of parts involves highly varied changes of texture; oppositions occur between the outer and the inner parts ; between the top two and the bottom two parts, and between the flute and the string instruments.*'

The flute and viola introduce the main theme and continue together in the transition, still in g minor. The flute presents the second theme in Eb Major. The main theme and transition return in g minor. The second theme repeats twice, first in the key of Ab Major and then in E

Major. The transition modulates through Eb Major in the progression to the recapitulation in g minor. The opening of the main theme is abridged and modified.

The cello repeats the main theme. The second theme is not repeated in the recapitulation.

Quartet in C Mai or

The first movement of this quartet is marked Andante con Variazioni, is in 2/4 time and in the key of C Major.

It includes a theme followed by twelve variations and a coda.

**Akira Hirano, Preface notes to 3 Quartets. Op. 98 for flute, violin, viola, and bass. Translated by Robin Thompson. (Den Haag: Nippon Columbia Co., Ltd, 1991) 5A.

56 The second quartet attracts interest thanks to its unusual formal lay-out. Essentially it is the usual type of instrumental composition (without Minuet) , preceded by a movement based on thematic variations. The theme (Andante) is symmetrical in shape ...the compositional technique keeping mainly to the generally established principles of variation writing (imitation, melodic ornamentation, contrapuntal part-writing etc.) There are also, however, examples of free thematic character of études) , or even the transformation of the variational movement into a connecting link leading to the further development of the theme (Variation No. 3).®*

The second movement is marked Allegro, in 3/4 time, and in the key of a minor. The main theme is played by the flute over a syncopated tonic pedal in the cello and repeated sixteenth notes in the violin and viola. The second theme is established in C Major in measure 25. The flute initiates the theme with the violin imitating it.

The development of the second theme leads to e minor. The transition and codetta are in e minor.

The development section begins with a switch in mode to E Major. A motive from the second theme is restated and developed with the flute and violin echoing each other.

The cello brings back the first theme in the key of f# minor. This theme is developed in a contrapuntal manner.

The first theme reappears in the flute in the original key of a minor, but it is a deceptive recapitulation. Nineteen bars later the recapitulation actually occurs and is further developed.

^Vincenc Straka, Foreword Notes in Antonin Rejcha, Tre Ouartetti. op . cit. . xiv.

57 The third movement, Aria, is in F Major. It is

unusual for it is in the mixed meter of 3/4-2/4 time (see

example 7) . This alternation of duple and triple time is

"reminiscent of the rhythmic pattern of Czech folk-dance

songs."” The andante section is in ternary form. The

trio, Allegro assai, is in 3/4 time and in the subdominant key (Bb Major) . The melodic line in the flute is

emphasized above chordal harmonies in the strings (open

fifths in the viola, then cello) . The aria is then repeated.

Aiidante 10

Example 7 - Quartet in C Manor, third mvt. Tre Ouartetti. gp. Cit.

'Straka, Editor Notes, Tre Ouartetti, Edit, xiv,

58 The fourth movement, Finale-Allegro, is in cut time, and in the key of C Major.

It maintains a host of formal surprises right up to the very end. The music begins in a somewhat Haydnesque style with broken harmonies played in unison by the strings.**

The flute initiates the main theme in the third measure.

An ascending scale passage with the flute and strings begins the bridge passage in the key of G Major. The second theme is in the submediant (Eb Major) and is more lyrical in character.

The recapitulation occurs in measure 74. The transition section and second theme comes back in the key of E Major. The second theme is then repeated in C Major.

A restatement of the introduction with the flutes and strings in unison begins the coda that concludes the quartet.

Quartet in G Mai or

The third of Rejcha's group of quartets is compositionally the most mature and also its formal aspect testifies to Rejcha's inventiveness and resource as a composer. It may, indeed, be said that here considerations of compositional technique override musical invention and content.**

The first movement of this quartet, Allegro moderato, is in 4/4 time, and in the key of G Major. It is in "la grande coupe binaire" form and consists of two hundred and

**Hirano, op . cit. . 6.

**Straka, op . cit. . xiv.

59 eighty-two measures. The violin introduces the main theme with the accompaniment of the viola and cello. In the

fifth measure, the flute restates the theme one octave higher. Subsequently, the violin and flute alternate a variation of the theme. The transition to the second theme emphasizes a technical passage in the flute line. The second theme in the dominant minor (d minor) features a delicate sequential pattern in all the voices. In the repeat of the second theme, an arpeggiated cello line is highlighted. Running sixteenth notes alternate between the flute and cello lines in the transition which reveals the key of D Major. A dotted eighth note motive (reminiscent of the motive from the finale of Quartet in C Major) is exchanged between all voices. This leads to a virtuosic string tutti section continued with a virtuosic flute solo line.

The development section begins with the second theme restated in the mediant key (b minor) . The first theme reappears next in E Major. The development proceeds with links between the flute and viola; and violin and cello.

The recapitulation begins in measure 161 with the first theme in the original tonic. The second theme reappears in the submediant key (e minor). The arpeggiated variation is now presented in the flute line. The flute, violin, and viola alternate virtuosic passages. In the concluding sixteen measures, the flute has a short cadenza

60 inserted in its part. A modulatory section in a Lento tempo, serves as a tonal bridge to the second movement (see example 8).

MODULATION

Lento

vln via vcl -9^

Example 8 - Modulatory section from Quartet in G Manor

The second movement. Largo, is in 6/8 time, and in the key of Bb Major.

It is eighty bars long and divided into two sections, the first consisting of thirty-nine and the second of forty-one bars. One might also interpret it as being in sonata form.’“

The strings begin the main theme with the flute entering in the 4th measure. The transition is in g minor. The thematic material returns in Eb Major and is subsequently developed. The recapitulation in the original

“Hirano, op. c i t .. 7.

61 key appears in measure 40 and is expanded and altered. A coda concludes this movement. A modulatory section, marked

Lento, and in 3/2 time, appears again after this movement, to serve as a link to the next movement (example 9) .

MODULATION Lento

fl

1 vln É

3 0 - vcl -V'H- -

Example 9 - second modulatory section

The third movement, Fugue à deux sujets, is marked

Allegro, is in 2/2 time and in the key of D Major (example

10) .

The first subject of this freely structured fugue is presented at the outset by the flute. The viola then enters with the second subject, to which the flute responds in the upper register with a countersub j ect.

'Ibid. 6.

62 FUGUE A DEUX SUJETS

A l l e g r o

Example 10 - Fugue from Quartet in G Major, op. cit.

The flute and strings merge in unison as a transition to a short, calando section. A brief coda with all instruments joining again in unison concludes the movement.

The composition finishes off with a two-part Finale, which again provides an excellent example of Rejcha's ability to write a thematically well integrated and symmetrically designed composition. The chromatic element introduced into the sequential process in which the melody is developed and the effective use of contrasted sonorities give to this movement unusual expressive intensity.”

The Finale begins with an introduction in G Major, in

3/4 time and marked Poco Adagio. The violin initiates the main theme. The violin varies a repetition of the theme.

In the second half of the introduction, the flute repeats the theme. A chromatic bridge in the flute line leads to the second section.

The second section is marked Agitato, is in cut time, and in the key of g minor. The flute leads the theme in this highly rhythmic, chromatic section. At one point, the

'Straka, op. cit.. xiv.

63 theme is repeated in G Major, giving the listener the

impression of concluding the movement in the original

tonic. However, through chromatic modulation the piece

returns and concludes in g minor.

Conclusion

In the Course of Musical Composition. Reicha

demarcated three ways in which four-part harmony should be

considered :

1. As accompanying a predominant melody in airs, concertos, and in general in all instrumental and vocal solos.

2. As serving the development of ideas in productions wherein every part is of the same importance, such as Haydn's and Mozart's quartetts, and finally wherever the fugued style is employed.

3. As a means of producing great effect, with orchestral masses, principally in the symphony.

In a piece of a certain extent, care must be taken not to let the four-part harmony be heard continually. Variety, which is the soul of music, requires on the contrary, that, from time to time, three and two-part harmony be substituted for it, and even passages in unison.’’

Reicha asserted in the preface to the Quartets for

Flute. Violin. Viola, and Cello. Op. 98. that he composed these quartets as "true quartets", in other words, that they should not be thought of as flute sonatas or concertos

’Reicha, CMC o p . cit.. 249.

64 with string accompaniment. This corresponds to his second procedure he delineated of how to compose four-part harmony.

For the most part, Reicha succeeded to compose the

Quartets in this fashion. As Bücken stated in his biography of Antoine Reicha regarding the Quartets for

Flutg. Violin, Viola, and Cello. Op. 98:

In general, the composer remained true to his resolution to write in the manner of a quartet. Even though here and there unexpressive accompanying figures can be found, the attempt to not prefer the flute over the strings shows everywhere. But in the adagios of the second and third and in the finale of the fourth quartet, the flute appears as a solo instrument.

In CMC. Reicha furnished the ranges of the instruments in an orchestra. He provided a range for the flute from Dl to B3 . The range for flute in the Six Quartets Op. 98, is

Dl to A3. Reicha claimed in CMC that, "it is to this instrument (flute) that the highest notes in the orchestra are g i v e n . This assertion apparently did not apply to his composition of quartets, for in these quartets, the violin has a higher range. In CMC. Reicha gave a range of the violin as g to E4, with a note that

"the highest sounds of nearly all instruments are difficult to execute and cannot be produced without considerable skill. For this reason, the compass of instruments is more limited in the orchestra than in

Bücken, op. cit..122.

Reicha, op. cit.. 311.

65 the concerto. Orchestral music should be of a nature to be performed at sight (a prima vista) but the concerto is studied.'”'

For this reason, Reicha provided an orchestral range for violin as g to F3. Reicha furnished an addendum for composing for violin that "the second of every instrument, when it plays with its first, has its part always written lower than that of the first, unless some particular cause necessitates a deviation from this."” The range of the violin in the Six Quartets Op. 98. is g to B3.

Since the range of the violin exceeds the flute range, this seems to imply that Reicha did not view the violin as a second violin in a string quartet, but rather to support

Reicha's pronouncement that he designed these quartets for four equal instruments. In addition, it seems to suggest that although these quartets were written for "amateurs", he must have thought of them still as accomplished musicians to achieve these ranges.

The range of the viola in CMC, is stated as c to A3 in concerto playing, and low c to G2 in orchestral playing.

In the Six Quartets. Op. 98. the range of the viola is c to

G#2. The range of the cello in the tuttis of the orchestra is given as C to Gl; in orchestral solos as C to

'Ibid.,309.

'Ibid. 66 Bbl; in quartet solos as C to C2; and in concertos as C to

A 2 . In the Six Quartets. Op. 98. the range of the cello is C to Al.

67 CHAPTER 4

PERFORMANCE PRACTICE

Hans Keller wrote about the interpretation of Haydn's string quartets:

One grand illusion, in any case, has to be destroyed at the outset of any sound-conscious investigation of the string quartet-a piece of textbook wisdom conveyed to many a student, composer or instrumentalist, by many a so-called expert: that in the string quartet, there are 'four equal parts'. Of many a lousy quartet, this textural definition is, of course, perfectly true, at least so far as the composer's confused intentions are concerned, but as soon as you turn to the master quartet in general and the 45 in particular, you realize that, on the contrary, there isn't a single leaderless juncture or stage-an all-important, clearly audible fact, this, from the playing point of view. It inevitably implies that likewise, there isn't a single interpretative problem that can be solved in committee : either whoever leads at a given point makes his solution- ideally, everybody's solution-convincingly and persuasively clear through his playing, his phrasing, his tone production and tone modulation, or there just won't be any solution, and what will be heard instead will be the most inartistic sound imaginable - a compromise. **

This statement most certainly applies as well to

Reicha's Six Quartets for Flute. Violin. Viola, and Cello

Op . 98. For although, these quartets were composed for

'four eq[ual parts', it is clear from the previous

’"Hans Keller, The Great Haydn Quartets. Their Interpretation (London & Melbourne: J. M. Dent & Sons Ltd., 1986) 6.

68 analytical section that knowing whether an instrument has the theme; how the theme and accompaniment relate to each other, and knowing when and which instruments should lead, is essential for a meaningful interpretation of the quartets. "For again, the near equality of the four instruments assists a style in which melodic ideas can become accompanimental ideas even from one bar to the next.

Dynamics and Accentuation

In the Treatise on Melody. Reicha asserted:

In the course of the melody, in certain places, instead of employing the 'forte', it is necessary to use the 'mezzo-forte', the 'rinforzando', and the ' forte-piano ' .

Reicha used dynamic markings sparingly in the Six

Quartets Op. 98. using primarily Forte and Piano markings.

Occasionally, he employed the Fp, pp, FF, mf, and ores. markings. Fundamentally, forte and piano indications form the backbone of Reicha's dynamic usage in these quartets and represent a broad spectrum of sound.

Reicha begins most movements in the Six Quartets. O p .

23. with a piano marking. Am exception is the Forte marking that initiates the Minuet from the Quartet in g minor, and both Allegro movements from the Quartet in C Major. Also,

"Paul Griffiths, The String Quartet (Great Britain: Thams and Hudson, 1983) 42.

'"Reicha, CMC op. cit.. 133.

69 a mezzo-forte marking opens the Adagio movement in the

Quartet in A Major, as well as the Fugue from the Quartet

in -g MejoF. Matching tonal intensity with subtlety of affect was

emphasized in Turk's treatise:

Compositions of a cheerful, joyous, lively, sublime, splendid, proud, bold, courageous, serious, fiery, wild, furious, and the like, character all require a certain degree of loudness. This degree must even be increased or decreased according to whether the feeling or passion is represented more intensely or more moderately... in each composition itself different gradations are again necessary, all of which must be in a suitable relation to the whole. A forte in an allegro furiouso must therefore be considerably louder than in an Allegro in which only a moderate degree of joy prevails, etc.

Compositions of a gentle, innocent, naive, pleading, tender, moving, sad, melancholy, and the like, character all require a softer execution. The degree of loudness (in 1802, "of softness"), however, must correspond accurately to the prevailing sentiment and therefore is different in most of the cases just named.

Turk left additional suggestions for dynamics within a movement.

Qne can generally assume that the livelier passages of a composition are played loudly, the gentle singing, etc. (passages) more softly, even if in the first case no forte, and in the second no piano is indicated. When an idea is repeated, then it is customary to play it softly the second time if it was played loudly the first. Qn the other hand, a repeated passage may also be played louder, especially when the composer has

^“'■Daniel Gottlob Turk, School of Clavier Playing. 1789. Translated and edited by Raymond Haggh. (Lincoln: University of Nebraska Press, 1982) 389.

70 made it livelier through elaborations. In general, even single notes of importance ought to be played more emphatically than the others.

Crescendos are often associated with ascending passages, increasing tension, and climatic effects..Conversely, decrescendos may be associated with descending passages, decreasing tension, and relaxation.

Reicha begins the first movement from the Quartet in e minor with a piano which reflects the somber character of the opening minor theme stated in the violin. Measure 4 is modified and expanded through measure 6. These measures should graduate in intensity. The flute repeats this theme in measure 7 as was detailed in the previous analytical chapter. It is apparent from the previous chapter that a primary compositional tool for Reicha is repetition and expansion of motives. To be satisfied with just repeating verbatim, an idea, or a theme from another voice, will unquestionably lead to a boring performance. It is necessary to alter the repetitions with either different dynamics, color, or phrasing.

In good music, it must at the same time be remembered, there simply is no repetition: contextually and/or essentially, intrinsically, every seeming repetition is a variation. It follows that if one player repeats another's theme, he cannot possibly rest content with imitating the model's phrasings. He has to introduce a variation, which is to say that he must retain his predecessor's fundamental structure.

'"Ibid.. 350.

'"Sandra P. Rosenblum, Performance Practices in Classic Piano Music (Bloomington and Indianapolis : Indiana University Press, 1988) 70.

71 on whose basis his imagination will introduce new elements that don't contradict it, but, on the contrary, substantiate it.'”"

The second theme in measure 18, is stated with a forte dynamic. It is important to put this forte in context and to not exaggerate it. "In classical music, forte means forte level, not a dynamic explosion as soon as one sees an

In his landmark volume on violin playing, Leopold

Mozart stressed that every forte should not be played at maximum s t rength. " ^ «

In the Quartet in e minor. Reicha uses the forte marking in unison passages, (i.e., m. 23, first movement; m. 11-13 and 45-49, second movement). He also employed it in his introduction to canonic sections such as in mm. 63-

91, in the fourth movement. Consecutive forte and piano markings were used in the strings from measures 81-87 in the first movement to emphasize stark contrast within each measure. The Piano markings were often used to indicate lightness in articulation, (i.e., opening measures of the second movement) as well as themes to be played with a more delicate character.

'“^Keller, op . cit. , 70.

‘“Rosenblum, op . cit.. 61.

72 Indications for qualitative or dynamic accents in

Reicha's Quartet in e minor, were mainly Fz (replaced in the score with the modern equivalent of sf) , fp, and the accent sign itself >. Reicha often designated expressive accents with one of these signs to signify dissonate intervals, those that are chromatic or syncopated, the culmination of a phrase, and those that are first under a s l u r . ‘°’' According to Keller, copyists habitually used sforzandos in syncopated passages. He asserted that the sign > and sf are often misconstrued and that their major function are to de-accent a neighboring note.*°®

It is shattering to observe how few players clearly realize that in good music and good music- making alike, a phrase cannot contain more than one main accent; where it does, something has gone wrong with either the composition or their performance or phrase by reshaping it by means of one's own phrasing.

Ornaments

The classical era engendered change in the function of ornaments. Charles Rosen observed that

The musical ornamentation of the first half of the 18th century was an essential element in the achievement of continuity; the decoration not only covered the underlying musical structure but kept it always flowing... the agréments fill what empty space there was.

"'Ibid., 62.

"®Keller, op . cit.. 67.

"'IbW. , 73. 73 The decoration of the classical style, on the other hand, articulates structure. The chief ornament retained from the Baroque is, significantly, the final cadential trill. Other ornaments are used more rarely, and they are almost always fully written out- necessarily so, as they have become thematic.

The main ornaments that Reicha employed in the Quartet in e minor, were turns, appoggiaturas, grace-notes, scales, and trills. In the Course of Musical Composition. Reicha described two ways of notating appoggiaturas, one with small notes, and the other way with common notes. Small notes may be interpreted as having greater or lesser value than their resolution, according to the character of the piece, and are commonly placed on the strong part of the measure. Common notes must be executed with the value notated. Reicha added that "it is with reason that, in

France, the appoggiaturas are called Notes de Goût (notes of taste); for it is taste which directs the use of them, especially when they are placed in the melody. The turn as in measure 18 of the first movement, would be notated as follows

3 Exatrç>le 11-interpretation of turn

‘"“Charles Rosen, The Classical Style (New York: Norton, 1972) 107-108.

"""Reicha, p. c i t .. 99, 104.

"""Johann George Tromlitz, The Virtuoso Flute-Player. (Leipzig, 1791). Translated and edited by Ardal Powell. (Cambridge: Cambridge University Press, 1991) 226.

74 "The full trill of the Classic period existed in three basic forms: the plain trill, the trill with termination

(or suffix) , and the crill with prefix...A suffix to the trill in the form of a turned ending was frequently written out...If such a termination was not indicated, the performer was expected to add one where it would fit and be advantageous, particularly in effecting a smoother transition from the trill back to the melodic line.

The trill beginning with the upper note may still have been used more frequently until about 1800. Trills that were approached by descending stepwise motion, as in m. 97 in the flute line from the first movement, might have been played with their oscillations beginning on the main note.

Tromlitz discussed the trill in length in his treatise :

The character of a good trill is that the beats are made as equal to each other as possible...The trill's speed is always governed by the tempo of the movement. On the flute it does not matter whether (the trill) is high or low: it is done the same in the high register as in the low...I have set out in detail..that the trills can be played more correctly on most notes by a many-keyed flute than by an ordinary o n e . “■*

’Rosenblum, op . cit.. 239, 243.

‘Tromlitz, op . cit.. 239, 242, and 319.

75 Articulation

"Flute tutors from Tromlitz (1791) to Berbiguier (?1818) make it plain that players were to apply varied and tasteful patterns of articulation to what they played..A continuity of (double tonguing) technique ('tootle/tad'll') extends from Corrette (1740-41) through Tromlitz (1791), Wragg (1806), Frôhlich (1810-11) and Nicholson (1815), while Berbiguier (?1818) gives 'dou-gue'. Devienne (1794) and James (1826) rejected it altogether.

The interpretation of staccato signs such as dots and strokes is ambiguous because, as was the case in much of

Classical music, Reicha used these signs without much consistency. "Unfortunately, in spite of all the good intentions of writers who described the meanings of dots and strokes, serious problems remain in interpreting the signs in holographs. When composers wrote hastily or used a softened quill, dots became elongated and strokes were shortened. The two signs appear in every possible variation; at times they are virtually indistin­ guishable."^*® The general rule is that a stroke denotes a distinct, sharper articulation, (not an accent); dots signified separation; and dots under slurs more legato.

Any of these signs in a slower movement would have a more gentle touch.

•“David Charlton, "Woodwind and Brass," Performance Practice, Music after 1600. Edited by Howard Brown and Stanley Sadie, (New York and London: W.W. Norton and Co., 1990) 253.

“‘Rosenblum, op . cit. . 185.

76 Choice of Tempo

How fast or slow a movement is supposed to be can be determined by the superscription written at the beginning of the piece, such as Presto; Prestissimo; Allegro assai; Allegro di mol to; these indicate a very rapid tempo. Allegro; Poco presto; Vivace are used for fast tempi. Allegretto; poco Allegro; poco Vivace; Moderato; Allegro ma non troppo; non Presto are found on less quick pieces. To the above-named movements belong everything that is joyful, fanciful, bold, haughty, etc. A very slow tempo is indicated by Adagio assai; Adagio di mol to; Largo di mol to; and suchlike. To slow tempi belong Larghetto; poco Adagio; poco Largo; poco Lento. Among these belong everything mournful, melancholy, plaintive, modest, etc. A generally applicable set tempo for each of these words cannot be established, chiefly since there are so many gradations in between them, and no composer can be bound by a fixed tempo like this, but is guided by the feelings arising out of his own temperament and taste."'

Tone and Intonation

It is important for the flutist to discern when and how to blend its timbre with the other string instruments, and when to exploit its distinct and more penetrating tone. In his treatises, Reicha referred to the strength of the tone of wind instruments indicating that wind instruments "are more penetrating than stringed instruments.

"Tromlitz, op . cit. . 97.

“Reicha, CMC op. cit. . 132.

77 Persons not much accustomed to the orchestra are frequently surprised that a single wind-instrument or voice penetrates through the mass of stringed instruments, sometimes amounting to thirty or forty. This effect, quite surprising as it is, solely depends on the difference of tone...'"’

Reicha listed five qualifications for an excellent singer that could also be applicable to a flutist. Reicha stated that an excellent singer should have:

1. A sonorous, sweet, flexible, and agreeable voice. 2. A profound sensibility; 3. An exquisite taste. 4. Perfect schooling and 5. Very exercised, fine, and delicate ears. How many composers are not the victims of a performance without nuances, taste, feeling, or finally, without any voice which can charm and interest us !

Tromlitz elaborates:

I have often found that one person can think a tone beautiful while another cannot stand it. So it is difficult, if not quite impossible, exactly to define a sound which everyone considers beautiful. I say: the only model on which an instrumentalist should form his tone is a beautiful human voice; and as far as I am concerned a human voice that is beautiful is one that is bright, full and resonant, of masculine strength, but not shrieking; soft, but not hollow; in short, for me a beautiful voice is full of timbre, rounded, singing, soft and flexible.

Tromlitz stated that he believed that the flute was the most difficult instrument to play in tune. In order to improve intonation, Tromlitz believed it was important for the flutist to have an exact knowledge of intervals.

'■•’Reicha, Op. cit. 283

,283 .

Î 2 I Tromlitz, op . cit■. ill.

78 especially how to tune the unison correctly. He suggested learning to tune a keyboard instrument to better this skill.

You devotees of this instrument who wish to bear the name of Virtuoso honourably, strive to acquire a beautiful tone, and learn to hear accurately, and so, if you have a properly tuned instrument, you will also be able to play in tune, so that for once the detractors of this formerly so popular instrument will have to shut up. If you cannot manage by yourself, overcome your pride and ask for advice, and you will receive assistance. That this applies only to the conceited Virtuoso is obvious; upright and discerning people do not need these reminders.

The Six Quartets. Op. 98. are filled with unison passages that will require time and patience to perfect the intonation. However, once good intonation in these quartets are achieved, the flutist should be able to transfer this skill over to become a much better ensemble player.

Tromlitz, stated that the scale of G Major is one of the easiest; g minor is a bit more difficult; A Major is not easy to play in tune; C Major is easy, (one need only watch out for the step from E to F, and the step from B to

C) . He also stated that although the key of F# Major is not used on the flute as a principal key, it does come up in modulations (Quartet in A Major) and it is one of the most difficult keys.

Ibid., 123.

79 Vibrato During the period in which the Quartets. Op. 98 were written, vibrato was used essentially as an ornament.

Finger vibrato was the custom that most treatises prescribed and it was termed flattement.

Finger vibrato continued in use throughout the period...Like Quantz, many Classical tutors prescribed vibrato in association with messa di voce as a standard ornament. Now, however, the swell typically covered a phrase of one or two bars' length.

Tromlitz warned against producing the flattement with the chest, because "one can very easily get into the habit of wobbling."^* DeLusse (cl760) was an exception in indicating breath vibrato as an useful resource.Nancy

Toff stated:

Key vibrato had been known and practiced prior to the Boehm era, but this technique was not suitable on the Boehm flute for traditional music of the time because of the noise element produced by its mechanical interconnections...Early Boehm flutes were played without vibrato; the technique was introduced as a tonal modifier by Taffanel in the nineteenth century.

'“Charlton, op. cit.. 243-254.

'“Tromlitz, op. cit.. 215.

'“Charlton, op . cit.. 254.

'“Toff, Development of the Modern Flute, op. ...C£ 212

80 CHAPTER 5

CONCLUSION

During his lifetime, Reicha was regarded as a notable theorist, teacher, and composer. He composed over 100 compositions, however, many of these works remain in individual parts in archives of libraries, and are therefore not easily accessible. Reicha acknowledged that he disdained promoting his works, and as a result, much of

Reicha's repertoire has not been studied and performed.

Six Quartets for Flute, Violin. Viola, and Cello. O p .

98. were published in two volumes. The second volume of these quartets has been published in the twentieth century in both score and part form. The first volume of the quartets remains in part form in the archives of limited libraries.

The purpose of this paper was to expand the flute chamber music repertoire, particularly chamber music that places the flute as an equal partner with the strings, not as a soloist with string accompaniment. Also explored was how this eminent teacher's theories and performance practices apply to these quartets.

81 In his treatise, Violinschule. Spohr summarized the essence of string quartet playing which also applies to these quartets :

The student will understand from this that for the perfect interpretation of a quartet, although perhaps less technical skill is required than in concerto playing, many other things are needed that can readily be dispensed with in a concerto, but above all an easily aroused sensibility, cultivated taste and a command of composition.--’

The historical background, theoretical and performance practice principles included in this document, along with the attached score of the Quartet in e minor, opus 98. should allow flutists to be more cognizant of this time period. This will hopefully yield more musically mature interpretations of Reicha's quartets, as well as works of a similar nature.

'^’Ludwig Spohr, Violinschule (1832) 246-9, in Stowell, op. cit.. 280.

82 APPENDIX A

SCORE OF ANTOINE REICHA'S OUARTET IN e MINOR

This score is based on the engraved print of the cl82 0

Boieldieu (Paris) edition in part form obtained from the

Sibley Library from the Eastman School of Music. The musical texc has essentially been left unaltered.

Inconsistencies of articulation, dynamics and incorrect notes have been corrected. Old notational features have been replaced with modem notation. Fz has been replaced with the more usual present day sf.

83 Quartet in e minor Opus 98, Book 1, No. 1 for flute, violin, viola and cello

Antoine Reicha Allegro Moderato edited by Leslie Maaser Izzfc Flute

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127 APPENDIX B

SCORES AND DISCOGRAPHY OF ANTOINE REICHA'S SIX QUARTETS FOR FLUTE. VIOLIN. VIOLA AND CELLO. OPUS 98

Scores

Date Publisher

C1820 V.I & II Boieldieu (Paris) Separate parts (engraved) Volume I (Premier Livre, 1-3) Quartets in em, AM, DM Volume II (Livre 2, 1-3) Quartets in gm, CM, GM ed. no. 815 (Vol. I) and 816 (Vol. II)

C1820 V.I Sc II Schott (Mainz) Separate parts (reprint) C1820 Simrock (Bonn) Separate parts

The advertisement for the Simrock and Schott editions was listed in Leipzig, 1821 in the Whistling and Hofmeister, Handbuch der Musikalischen Litteratur.

The Boieldieu print belongs to select libraries including Sibley Library of Eastman School of Music; Library of Congress; Moravian Museum; and the National Library of Budapest. The Schott reprint is the property of select libraries including the Sibley Library of the Eastman School of Music.

1964 Vol.II Tre Quartetti, 1-3, Musica Antigua Bohemica Series, 65 (score) and parts (65a) Statni Hudebni Vydavatelstvi Score and parts (Prague) (critical ed.)

1964 Vol.II Supraphon Score and parts (Prague) 1984 Vol.II Supraphon (Prague) Score and parts

Volume II is often mislabeled as Volume I and Volume I is often mislabeled as quartets 4-6. For example, in Sotolovâ's thematic catalogue of Reicha's music (published by Supraphon), she states that she cannot locate the themes from quartets 4-6, referring to the quartets in em, AM, DM, which is actually Volume I (1-3).

128 Discography

Volume II recordings (Quartets in gm. CM. and GM)

1966 Das Slowakische Streichquartett spielt (Quartet in C Major), Schwann Musica Mundi Milan Jurkovic, flute

1974 Flute Quartets. (Quartet in g minor) Supraphon, Musica antiqua Bohemica series Peter Brock, flute with the Vlach Quartet

1983 Quatuors romantiques (Quartet in C Major) Centre culturel de valprivas Milan Jurkovic, flute

1991 Antoine Reicha (Antonin Rejcha) 3 Quartets. Op. 98 Nippon Columbia (Denon) Aurèle Nicolet, flute with the Mozart String Trio (Quartets in gm, CM, and GM)

1991 Panton (Quartets in gm, CM, and GM) Jiri Valek, flute

1995 (Quartet in G Major), Lecture recital Ohio State University Leslie Goldman Maaser, flute with Korine Fujiwara-Bennett, violin, Chris Saetti, viola, and Paul Kushious, cello

Volume I recordings (Quartets in em, AM, and DM)

1995 (Quartet in e minor), Lecture recital Ohio State University Leslie Goldman Maaser with Korine Fujiwara-Bennett, violin, Chris Saetti, viola, and Paul Kushious, cello

1996 MDG (Detmold) (Quartets in em, AM, and DM) Konrad Hünteler, flute with Rainer KuÆmaul, violin, Jurgen KuÆmaul, viola, and Roel Diltiens, cello (Note: I became aware of this recording at the end of my research)

129 BIBLIOGRAPHY

Ahmad, Patricia Joan. "The Flute Professors of the Paris Conservatoire from Devienne to Taffanel, 1795-1908." M.A. Thesis. North Texas State University, 1980.

Anthony, James. "Paris, education." New Grove Dictionary of Music and Musicians. Ed. Stanley Sadie. London: MacMillan, 1980.

Barrett-Ayres, Reginald. Joseph Haydn and the String Quartet. London: Butler & Tanner, 1974.

Bate, Philip. The Flute: A study of its history. development and construction (second edition). New York: W. W. Norton, 1979.

Bent, Ian. Music Analysis in the Nineteenth Century. Volume I : Fugue. Fonn and Style. Cambridge: Cambridge University Press, 1994.

Berger, Melvin. Guide to Chamber Music. New York: Dodd, Mead & Company, 1985.

Borland, William E. "The Keyboard Music of Anton Reicha: A Study of Some Important Works." M.A. Thesis. Louisiana State University, 1976.

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