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An Examination of Stylistic Mixture in Four Bassoon Sonatas, 1720–1760

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An Examination of Stylistic Mixture in Four Bassoon Sonatas, 1720–1760 An Examination of Stylistic Mixture in Four Bassoon Sonatas, 1720–1760 A document submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music 2017 by Yi-Chen Chiu B.A., University of Taipei, 2003 M.M., University of Cincinnati, 2007 Committee Chair: Jonathan Kregor, PhD ABSTRACT The bassoon sonatas written between 1720 and 1760 reflect a turning point both in the instrument’s construction and in compositional style. The newly invented baroque bassoon replaced the older dulcian with greater virtuosic capability. Thanks to these improvements, composers began to view the bassoon as a solo instrument and write music specifically for it. This time period also witnessed a preference for stylistic synthesis, a blending of Italian and French style as well as the old Baroque and the new style galant. This document discusses the significance of the emerging new baroque bassoon. It examines the elements of the mixed styles in the context of formal structure, texture, tonality, harmonic content, and melodic and rhythmic writing. Finally, it evaluates the idiomatic writing that is still challenging for modern bassoonists. Sonatas by Johann Friedrich Fasch, Georg Philipp Telemann, Luigi Merci, and Antoine Dard serve as the main focus for examination. In the end, my document will hopefully shed some light on our understanding of bassoon sonatas in the middle half of the eighteenth century and the stylistic diversity that developed over time. ii Copyright © 2017 by Yi-Chen Chiu All rights reserved. iii ACKNOWLEDGEMENTS I would like to express my gratitude to my adviser, Dr. Jonathan Kregor, for his guidance and valuable suggestions on organization and writing. I also want to thank Dr. Jeongwon Joe for her thoughtful insights and evaluation. I am particularly thankful to Dr. Adam Shoaff, to whom I owe much of my ability at academic writing, and his expert advice and vigorous support were foundational to the conception and completion of this project. Additional thanks to my major professor, William Winstead, who has been a mentor and an inspiration throughout the years. I am forever indebted to his invaluable guidance and encouragement for every aspect of my professional development. A special note of appreciation goes to Professor Martin James, whose observations and feedback have been wise and helpful. Finally, I would like to express my deepest gratitude to my family, whose love was persistent throughout my endeavor. To my parents and my sister, Yi-Hsuan, your tremendous support and unending encouragement have been pivotal along the journey, and for that I am eternally thankful. iv TABLE OF CONTENTS Abstract ii Acknowledgements iv Table of Contents v List of Musical Examples vii List of Tables xii List of Figures xiii INTRODUCTION 1 CHAPTER 1. From Dulcian to Baroque Bassoon 1. Dulcian 9 2. Transitional Period 17 3. The Baroque Bassoon 18 4. Conclusion 21 CHAPTER 2. Stylistic Variety from 1720 to 1760 1. National Styles 23 2. Style Galant 30 3. Conclusion 32 CHAPTER 3. Georg Philipp Telemann, Sonata in F minor for Bassoon and Basso Continuo (1728) 1. Telemann in the 1720s–30s 34 2. Der Getreue Music-Meister (1728–29) 36 3. Sonata in F minor for Bassoon and Basso Continuo 37 4. Conclusion 49 CHAPTER 4. Johann Friedrich Fasch, Sonata in C major for Bassoon and Basso Continuo (c. 1721–22) 1. Fasch’s Early Life to the 1720s 50 2. Sonata in C major for Bassoon and Basso Continuo 52 3. Conclusion 64 v CHAPTER 5. Luigi Merci, Sonata for Bassoon (Violoncello) and Basso Continuo, Op. 3, No. 4 (1735) 1. Background 65 2. Sonata for Bassoon (Violoncello) and Bassoon Continuo, Op. 3, No. 4 67 3. Conclusion 88 CHAPTER 6. Antoine Dard, Sonata for Bassoon (Violoncello) and Basso Continuo, Op. 2, No. 6 (1759) 1. Background 89 2. Sonata for Bassoon (Violoncello) and Bassoon Continuo, Op. 2, No. 6 92 3. Conclusion 108 EPILOGUE 110 BIBLIOGRAPHY 112 vi LIST OF MUSICAL EXAMPLES 3.1a. Telemann, Sonata in F minor for bassoon and basso continuo, III, mm. 1–2 38 3.1b. Telemann, Sonata in F minor for bassoon and basso continuo, III, mm. 15–16 38 3.2a. Telemann, Sonata in F minor for bassoon and basso continuo, I, mm. 1–12 40 3.2b. Telemann, Sonata in F minor for bassoon and basso continuo, I, mm. 29–38 41 3.3a. Telemann, Sonata in F minor for bassoon and basso continuo, II, mm. 1–10 42 3.3b. Telemann, Sonata in F minor for bassoon and basso continuo, II, mm. 29–31 42 3.4a. Telemann, Sonata in F minor for bassoon and basso continuo, II, mm. 1–2 43 3.4b. Telemann, Sonata in F minor for bassoon and basso continuo, II, mm. 53–54 43 3.5. Telemann, Sonata in F minor for bassoon and basso continuo, IV, motives 44 3.6. Telemann, Sonata in F minor for bassoon and basso continuo, decorative “sigh” figure 45 3.7. Telemann, Sonata in F minor for bassoon and basso continuo, III, mm. 1–7 47 3.8. Telemann, Sonata in F minor for bassoon and basso continuo, III, mm. 13–14 48 3.9. Telemann, Sonata in F minor for bassoon and basso continuo, II, mm. 16–20 48 4.1a. Fasch, Sonata in C major for bassoon and basso continuo, II, statements 53 4.1b. Fasch, Sonata in C major for bassoon and basso continuo, IV, statements 53 4.2. Fasch, Sonata in C major for bassoon and basso continuo, IV, m. 12, bassoon part, bariolage figuration 54 4.3. Fasch, Sonata in C major for bassoon and basso continuo, IV, mm. 25–26, bassoon part 54 4.4. Fasch, Sonata in C major for bassoon and basso continuo, II, mm. 29–32, bassoon part 54 4.5. Fasch, Sonata in C major for bassoon and basso continuo, I, m. 8, bassoon part 55 4.6. Fasch, Sonata in C major for bassoon and basso continuo, III, m. 4 , bassoon part 55 4.7a. Fasch, Sonata in C major for bassoon and basso continuo, III, mm. 1–6 56 4.7b. Fasch, Sonata in C major for bassoon and basso continuo, IV, mm. 1–8 57 vii 4.8. Fasch, Sonata in C major for bassoon and basso continuo, I, mm. 11–13, bassoon part 57 4.9a. Fasch, Sonata in C major for bassoon and basso continuo, I, openings 58 4.9b. Fasch, Sonata in C major for bassoon and basso continuo, III, openings 58 4.9c. Fasch, Sonata in C major for bassoon and basso continuo, II, openings 59 4.9d. Fasch, Sonata in C major for bassoon and basso continuo, IV, openings 59 4.10. Fasch, Sonata in C major for bassoon and basso continuo, I, mm. 7–9 61 4.11. Fasch, Sonata in C major for bassoon and basso continuo, II, mm. 8–14 62 4.12. Fasch, Sonata in C major for bassoon and basso continuo, III, mm. 4–6 63 4.13. Fasch, Sonata in C major for bassoon and basso continuo, II, mm. 30–38 63 5.1. Merci, Sonata for bassoon (Violoncello) and basso continuo, Op. 3, No. 4, II, mm. 1–4, basso continuo part 68 5.2. Merci, Sonata for bassoon (Violoncello) and basso continuo, Op. 3, No. 4, I, mm. 1–11 70 5.3. Merci, Sonata for bassoon (Violoncello) and basso continuo, Op. 3, No. 4, I, mm. 11–26 71 5.4. Merci, Sonata for bassoon (Violoncello) and basso continuo, Op. 3, No. 4, I, mm. 15–22, bassoon part 72 5.5. Merci, Sonata for bassoon (Violoncello) and basso continuo, Op. 3, No. 4, I, bassoon part, motive a, b, and c 73 5.6. Merci, Sonata for bassoon (Violoncello) and basso continuo, Op. 3, No. 4, I, m. 15 74 5.7. Merci, Sonata for bassoon (Violoncello) and basso continuo, Op. 3, No. 4, I, mm. 4–5 74 5.8. Merci, Sonata for bassoon (Violoncello) and basso continuo, Op. 3, No. 4, I, mm. 15–18 75 5.9. Merci, Sonata for bassoon (Violoncello) and basso continuo, Op. 3, No. 4, I, mm. 23–26 75 5.10. Merci, Sonata for bassoon (Violoncello) and basso continuo, Op. 3, No. 4, II, mm. 1–12 77 5.11. Merci, Sonata for bassoon (Violoncello) and basso continuo, Op. 3, No. 4, II, viii mm. 13–14 78 5.12. Merci, Sonata for bassoon (Violoncello) and basso continuo, Op. 3, No. 4, II, mm. 17–18 79 5.13. Merci, Sonata for bassoon (Violoncello) and basso continuo, Op. 3, No. 4, II, mm. 23–30 79 5.14a. Merci, Sonata for bassoon (Violoncello) and basso continuo, Op. 3, No. 4, I, mm. 15–17, bassoon part 80 5.14b. Merci, Sonata for bassoon (Violoncello) and basso continuo, Op. 3, No. 4, II, mm. 21–25, bassoon part 80 5.15. Merci, Sonata for bassoon (Violoncello) and basso continuo, Op. 3, No. 4, III, mm. 25–28, bassoon part 80 5.16. Merci, Sonata for bassoon (Violoncello) and basso continuo, Op. 3, No. 4, II, mm. 15–16 81 5.17a. Merci, Sonata for bassoon (Violoncello) and basso continuo, Op. 3, No. 4, III, mm. 27–38 82 5.17b. Merci, Sonata for bassoon (Violoncello) and basso continuo, Op. 3, No. 4, I, mm. 19–21, bassoon part 82 5.18. Merci, Sonata for bassoon (Violoncello) and basso continuo, Op. 3, No. 4, III, mm. 41–44, bassoon part 82 5.19. Merci, Sonata for bassoon (Violoncello) and basso continuo, Op.
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