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Edmund Von Borck: a Study of His Life and Music with an Emphasis on His Works for the Saxophone Wildy Lewis Zumwalt

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Edmund Von Borck: a Study of His Life and Music with an Emphasis on His Works for the Saxophone Wildy Lewis Zumwalt Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2003 Edmund Von Borck: A Study of His Life and Music with an Emphasis on His Works for the Saxophone Wildy Lewis Zumwalt Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF MUSIC EDMUND VON BORCK: A STUDY OF HIS LIFE AND MUSIC WITH AN EMPHASIS ON HIS WORKS FOR THE SAXOPHONE By WILDY LEWIS ZUMWALT A Treatise submitted to the School of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2003 Copyright 2003 Wildy Lewis Zumwalt All rights reserved. The members of the Committee approve the treatise of Wildy Lewis Zumwalt defended on March 27, 2003. Patrick Meighan Professor Directing Treatise Jeffery Kite-Powell Outside Committee Member Frank Kowalsky Committee Member James Mathes Committee Member The office of Graduate Studies has verified the above named Committee Members. Dedicated to the memory of my grandmother, Virginia Glasscock Scott (1918-2001), who first sparked my interest in music and ever remained an ardent supporter of my creative efforts iii ACKNOWLEDGMENTS I would like to express my appreciation to the many people who assisted in one way or another to make this project possible: Patrick Meighan for helping me develop the topic and for his guidance throughout the writing process; Carina Raschèr, Eike von Borck, Ruth von Borck, Marion Corda Bass, Marx Pales, John-Edward Kelly, and Kenneth Lavner, for providing me with insight and access to invaluable materials without which it would have been impossible to complete this study; Mariann Regan for her many helpful editorial comments; my committee members for their suggestions in the final stages of the paper; the staffs at the Wiener Stadt und Landesbibliothek and the University Library, University of Arkansas – Fayetteville; Dr. Dietmar Schenk, Archivist – Hochschule der Künst, Berlin; Waclaw Sobocinski, University of Wroclaw; Johan Giskes, Municipal Archives Amsterdam; Christina Maack, Charles and Ursula Joseph, Ingo Wagener, Andreas van Zoelen, and Noelle Noonan for their assistance in translating documents; Zach Blair for recording the sound clips; my students Brian Kauth and Matthew Scott for their assistance in preparing the examples and figures included in the document; my colleague Mary Cobb for accompanying the recorded sound clips; and finally my parents and Jennifer M. Regan for their encouragement and moral support throughout the course of the project. iv TABLE OF CONTENTS LIST OF FIGURES …………………………………………………………………………… vii LIST OF EXAMPLES ……………………………………………………………………….. ix ABSTRACT ……………………………………………………………………………….…. xii Chapter 1. A TWILIGHT OF CULTURE …………………………………………………… 1 Cultural and Political Background …………………………………….…… 1 The Saxophone in Germany ……………………………………………….. 4 Gustav Bumcke Sigurd M. Raschèr Summary ………………………………………………………………….. 17 2. BIOGRAPHY OF EDMUND VON BORCK ………………………………….. 19 3. OVERVIEW OF THE MUSIC OF EDMUND VON BORCK ………………… 37 Fünf Orchesterstücke, op. 8 (1932) ………………………………………... 48 Napoleon, op. 18 (1942) …………………………………………………... 54 Borck and the Nazi Regime ………………………………………………... 58 4. KONZERT FÜR ALT SAXOPHON UND ORCHESTER, OP. 6 (1932) .….…... 63 Historical Background ……………………………………………………... 63 Performance History …………………………………………………….…. 69 Stylistic Overview …………………………………………………………. 75 Movement I: Lento – Allegro Vivo Movement II: Adagio Movement III: Presto v Corrections …………………………………………………………….…... 90 Summary …………………………………………………………………... 91 5. INTRODUKTION UND CAPRICCIO, OP. 11 (1934) ……………………...…. 93 Historical Background …………………………………………………….. 93 Stylistic Overview ………………………………………………………… 98 Corrections ……………………………………………………………...… 104 Summary ………………………………………………………………….. 107 6. CONCLUSION ……………………………………………….………………... 109 APPENDIX A: RECORDED EXCERPTS AND SCORE EXAMPLES …………… 111 APPENDIX B: LIST OF WORKS …………………………………………………… 147 APPENDIX C: ILLUSTRATIONS …………………………………………………. 151 BIBLIOGRAPHY ……………………………………………………………….…... 162 BIOGRAPHICAL SKETCH ………………………………………………………... 169 vi LIST OF FIGURES Figure Page 1. Raschèr’s early contacts as inscribed on the back of the composer’s piano reduction of the Konzert………………………………………. 68 2. Rascher’s performance chronology of the Introduktion und Capriccio……………… 94 3. Introduktion und Capriccio, original cover page……………………………………… 95 4. Introduktion und Capriccio, cover page of violin version……………………………. 96 5. The von Borck children in 1909……………………………………………………… 152 6. Edmund von Borck’s parents………………………………………………………… 152 7. The young composer Edmund von Borck…………………………………………… 153 8. Edmund von Borck at the piano…………………………………………………….. 153 9. Edmund von Borck in Rome, 1943, just months before his death………………….. 154 10. German saxophonist and composer Gustav Bumcke………………………………. 155 11. The first documented saxophone quartet in Germany (ca. 1932)………………….. 155 12. Gustav Bumcke with his students, Berlin 1931…………………………………….. 156 13. Poster from the Entartete Kunst exhibit in 1938…………………………………… 156 14. Sigurd Raschèr (ca. 1932)………………………………………………………….. 157 15. Copy of program from the 1932 premiere of Borck’s Konzert…………………….. 157 16. Newspaper clipping from the Northwest Arkansas Times announcing the America premiere of Borck’s Konzert……………………………………………………….. 158 17. Program cover of the 1955 American premier performance of Borck’s Konzert…. 159 vii 18. Program copy of the American premiere of the Konzert………………………….. 160 19. Sigurd Raschèr at the 1955 American premiere of Borck’s Konzert……………… 161 viii LIST OF EXAMPLES Chapter Three Page 1. Adagio for Piano, op. 1, mm. 1-34…………………………………………………... 38 2. Mozart Clarinet Concerto, Mvt. II, mm. 17-24……………………………………… 39 3. Drei Lieder für Altstimme, Bratsche und Klavier, Mvt. I, mm1-15…………………. 40 4. Konzert für Klavier und Orchester, Mvt. 1, mm1-7…………………………………. 42 5. Konzert für Klavier und Orchester, Mvt. II, mm. 51-55…………………………….. 44 6. Concertino für Flöte und Streichorchester, op. 15 b, Mvt. I, mm. 1-21……………… 46 7. Sonata für Violine und Klavier, op. 7, Mvt. III, mm. 1-8…………………………….. 47 8. Fünf Orchesterstücke, Mvt. I, mm. 7-12……………………………………………... 50 9. Fünf Orchesterstücke, Mvt. II, mm. 11-16…………………………………………… 51 10. Fünf Orchesterstücke, Mvt. V, mm. 14-24…………………………………………… 52 11. Napoleon, Act II, Scene 1, saxophone solo, mm. 16-30……………………………… 56 12. Napoleon, Act II, Scene 1, saxophone solo, mm. 88-95……………………………… 56 13. Napoleon, Act II, Scene 2, saxophone solo, mm. 1-18………………………………. 57 14. Napoleon, Act II, Scene 2, saxophone solo, mm. 438-447…………………………… 58 Chapter Four 15. Konzert für Alt Saxophon und Orchester, Mvt. I, mm. 1-12………………………… 78 16. Mvt. I, mm. 13-16…………………………………………………………………… 79 17. Mvt. I, mm. 20-25…………………………………………………………………… 80 ix 18. Mvt. I, mm. 68-72…………………………………………………………………… 81 19. Mvt. I, mm. 78-84…………………………………………………………………… 81 20. Mvt. I, mm. 111-14………………………………………………………………….. 82 21. Mvt. II, mm. 1-3…………………………………………………………………….. 83 22. Mvt. II, mm. 4-12……………………………………………………………………. 84 23. Mvt. II, mm. 26-34…………………………………………………………………… 84 24. Mvt. III, mm. 15-20………………………………………………………………….. 85 25. Mvt. III, mm. 58-63………………………………………………………………….. 86 26. Mvt. III, mm. 74-79………………………………………………………………….. 86 27. Mvt. III, mm. 88-90………………………………………………………………….. 86 28. Mvt. III, mm. 126-135……………………………………………………………….. 87 29. Mvt. III, mm. 143-156……………………………………………………………….. 88 Chapter Five 30. Introduktion und Capriccio, mm. 1-7………………………………………………. 99 31. Kleine Suite für Flöte allein, Mvt. I, mm. 1-4………………………………………. 101 32. Introduktion und Capriccio, mm. 39-44……………………………………………. 102 33. Konzert für Alt Saxophon und Orchester (piano reduction), Mvt. III, mm. 29-36…. 102 34. Introduktion und Capriccio, mm. 17-19……………………………………………. 103 35. Introduktion und Capriccio, mm. 90-94……………………………………………. 103 36. Introduktion und Capriccio (published version), mm. 265-69……………………… 106 37. Introduktion und Capriccio (composer’s manuscript), mm. 265-69……………….. 106 x Appendix 38. Adagio for piano (composer’s manuscript) mm. 1-35………………………………. 112 39. Konzert für Alt Saxophon (composer’s manuscript), Mvt. I, mm. 1-27……………. 113 40. Konzert für Alt Saxophon (composer’s manuscript), Mvt. II, mm. 1-22…………… 121 41. Konzert für Alt Saxophon (composer’s manuscript), Mvt. III, mm. 1-60………….. 129 42. Konzert für Alt Saxophon (composer’s manuscript), Mvt III, mm. 125-140……….. 141 43. Introduktion und Capriccio (composer’s manuscript), mm. 252-269……………… 145 44. Introduktion und Capriccio (published version), mm. 259-269……………………. 146 xi ABSTRACT Edmund von Borck (1906-1944) was admired in Germany during the 1930s as one of the leading young composers of his generation. During World War II, he was inducted into the military and eventually killed on the Italian front. The complex political ramifications associated with Nazi Germany obscured Borck’s creative output and relegated him to the realm of anonymity. In accord with recent scholarly interest in composers from the Nazi era, this study explores the life and music of Borck with special attention given to his works for the saxophone. The 1932 premiere of his Konzert für Alt Saxophon und Orchester, op. 6 established Borck as an important twentieth-century composer while simultaneously inaugurating the solo career of pioneering saxophonist Sigurd M. Raschèr. The first chapter sets the cultural and political stage within the context of Nazi Germany, examining the status of the saxophone
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