Ignace Joseph Pleyel's Parthia In
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Ignace Joseph Pleyel’s Parthia in Dis: A Study and Critical Edition D.M.A. 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 John Anthony Oelrich Graduate Program in Music The Ohio State University 2012 DMA Document Committee: Russel Mikkelson, Advisor Richard Blatti Robert Ward Charles Atkinson Copyright by John Anthony Oelrich 2012 ii Abstract Though he has slipped from the mainstream of music history, Ignace Pleyel was a significant figure in the musical life of the late 18th to early 19th centuries. He was a significant musical figure in many of Europe’s major cities, and for a number of years his works were published more than any other composer. Writing in large scale orchestral and chamber settings, Pleyel’s contributions to the repertoire are representative of the musical style associated with Classical period while also containing unique features. Pleyel’s Symphonie Concertante in Eb was a popular piece throughout Europe from approximately 1790 -1810 as evidenced by the 79 published editions and 38 manuscript extant copies. Of these settings, there are two wind arrangements in the form of manuscript parts in the Badische Landesbibliothek in Karlsruhe, Germany. The older of these sets, shelf mark Don Mus. Ms. 1571, titles the work Parthia in Dis and was used as the primary source for the creation of a critical edition. A comparison of the two wind arrangements revealed that the structure, range, tonal scheme, texture, and the placement of thematic and accompanimental material are treated almost identically. It also shows that the Don Mus. Ms. 1571 parts contain a higher level of detail and internal consistency of articulations and dynamics between parts. iii A comparison was performed between the critical edition produced from Don Mus. Ms. 1571 and the critical edition of the original symphonie concertante with respect to thematic presentation, tessitura, texture and articulation. Most of the melodic transfers happen at the same pitch level, but several exceptions of octave displacement occur. Texture between the critical editions is congruent with exceptions of melodic doubling and missing parts. Much like the differences between the wind arrangements, articulations vary by groupings of notes under slurs and the use of staccatos in the wind arrangement when compared to the use of staccatos and strokes in the original symphonie concertante. An examination of the parts of the three instruments common between the two critical editions revealed that the horn parts in the Parthia in Dis contain almost all of the musical material from the original symphonie concertante, with some additional melodic material. The oboe shows the most differences, with the original symphonie concertante material used in part, but its primary role being the performance of the original string parts. Though it was not originally scored for Harmonie, the Parthia in Dis is a significant contribution to the wind music of the Classical period because of its inherent style characteristics and musical quality. It is also representative of Pleyel’s compositional style and of the symphonie concertante as a genre. iv Dedication While music is a great passion in my life, there is none greater than my family. This document is lovingly dedicated to: my wife, Ruth, the love of my life and without whom none of this would be possible; our two beautiful children, Owen and Lucy, whose inner light, creativity and silliness inspires me every day; to Drs. Art and Rachel Serianz for their unwavering love and support during this adventure; and to our yellow Labrador, Maia, who without fail, knew exactly when during the creation of this document what I needed most was to pet a dog. v Acknowledgments The task of a teacher is not to lead the horse to water and make them drink, but rather to make them thirsty. I have been fortunate in my life to have many teachers to inspire my thirst for knowledge and professional development. Sincere appreciation goes to my advisor Russel Mikkelson for his teaching, support and the many opportunities I have been afforded at Ohio State, Richard Blatti for his inspiration, wisdom and great sense of humor, Robert Ward for his support and counsel through this journey, Charles Atkinson for his insights and assistance into the musicological aspects of this study, Christopher Woodruff, Rebecca Burkhardt and Randy Grabowski for their inspired teaching, and to Dan Fairchild and Barry Ellis for helping me get started on this path. Special thank you goes to Beate Ehlig of the Badische Landesbibliothek for assistance in obtaining scans of the manuscripts used in this document and to Roy Mowatt of Fountayne Editions for his assistance in obtaining primary source material and publishing the critical edition. A sincere thank you also goes to Michael Murray, Sean Ferguson and Gretchen Atkinson of The Ohio State University’s Music and Dance Library and Professor Christopher Weait for their help with this research. vi Vita May 1991……………………Spencer High School, Spencer WI 1993…………………………A.A., University of Wisconsin-Marshfield/Wood County 1998…………………………B.S. Music Education, University of Wisconsin-Platteville 1998-2000…………………...Graduate Assistant, University of Northern Iowa 2000-2008…………………...Music Educator, Dubuque, IA 2008………………………….Master of Music, University of Northern Iowa 2008-2009……………………Director of Instrumental Music, Loras College 2009-2012……………………Graduate Teaching Associate, The Ohio State University 2012-present………………….Director of Bands, The University of Tennessee at Martin Publications Ignace Joseph Pleyel. Parthia in Dis. Critical Edition by John Oelrich. Fountayne Editions: London, 2012. Fields of Study Major Field: Music vii Table of Contents Abstract…………………...…………………………………………………………...iii Dedication...…………………………………………………………………………...v Acknowledgements…………………………………………………………………....vi Vita……………………...……………………………………………………………..vii List of Tables………………………………………………………………………….x List of Figures…………………………………………………………………………xi Chapter 1: Introduction and Procedures…………………………..…………………..1 Chapter 2: Background Information for the Genre, Pleyel and his Compositional Style……………………………..……………………………31 Chapter 3: An Analysis of the Parthia in Dis and a Comparison to Pleyel’s Compositional Style…………………………………………………………………..45 Chapter 4: A Comparison of the Two Wind Arrangements and Issues Pertaining to the Preparation of a Critical Edition for Harmonie.................................76 Chapter 5: Summary, Conclusions and Recommendations for Further Research…………………………………………………………………..105 Bibliography…………………………………………………………………………..114 Appendix A: Critical Edition of the Parthia in Dis…………………………………..121 Appendix B: Editorial Remarks and Actions Used in the Construction of the Critical Edition………………………………………………………………....171 Appendix C: Comparison between Don Mus. Ms. 1571 and 1579…………………...185 viii Appendix D: Comparison of the Critical Editions of the Don Mus. Ms. 1571 Wind Arrangement and the Critical Edition of the Symphonie Concertante from the 1792 Imbault Parts……………………………………………………………………………..…….242 Appendix E: Facsimile of first oboe parts from Don Mus. Ms 1597 and 1571………258 ix List of Tables Table 1: Criteria for selecting a piece…………………………………………………6 Table 2: Initial list of composers…………………………………………………...…7 Table 3: Composers without entries in the New Grove Dictionary of Music and Musicians…………………………………………………………..……..8 Table 4: Composers with works included in the NAXOS Music Library…………..…9 Table 5: Composers selected based on musical quality ascertained in recordings and in consultation with Professor Christopher Weait…………………10 Table 6: Results of searches for published editions, scholarship and recordings of wind music……………………………………………………………..10 Table 7: Parthia in Dis, Movement I structure, themes, and tonal areas………….…46 Table 8: Parthia in Dis, Movement II structure, themes, and tonal areas………….....46 Table 9: Parthia in Dis, Movement III structure, themes, and tonal areas……….......46 Table 10: Parthia in Dis, Movement IV structure, themes, and tonal areas……….....47 Table 11: Parthia in Dis, Movement V structure, themes, and tonal areas…………..47 Table 12: Comparison of the movement structure in Pleyel’s symphonie concertantes………………………………………………………………………...…70 Table 13: Common identical transfers of string to wind parts……………………......99 Table 14: Source material of wind arrangement oboe material and destination of original material……………………………………………..103-104 x List of Figures Figure 2.1: A wind band in the establishment of the Prince of Oettingen-Wallerstein, 1791………………………………………………………….34 Figure 3.1: Theme I excerpt in clarinets and horns, m. 1-4…………………………..48 Figure 3.2: Example of concertante passagework in oboe and bassoon duet, m. 19-23………………………………………………………...…49 Figure 3.3: Example of concertante passagework in clarinet and oboe alternation, m. 24-27……………………………………………………..…50 Figure 3.4: Example of concertante passagework in first clarinet, m. 31-34……………………………………………………………..….50 Figure 3.5: Excerpt of Theme II in clarinets, m. 37-40……………………………….51 Figure 3.6: Example of concertante passagework in first bassoon, m. 51-54……………………………………………………………………………….51 Figure 3.7: Example of concertante passagework in first clarinet, m. 73-77……………………………………………………………………………….52 Figure 3.8: Excerpt of Theme III in first oboe, m. 101-104…………………………..52 Figure 3.9: Example of concertante passagework in oboes in the development, m. 121-125………………………………………………………53 Figure