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Views, However the Hamburg Council Refused to Release Him from His Obligations Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Sinfonia in D, GWV 511: A Critical Edition Randall D. Haynes Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC SINFONIA IN D, GWV 511: A CRITICAL EDITION By RANDALL D. HAYNES A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Fall Semester, 2009 The members of the committee approve the treatise of Randall D. Haynes defended on October 26, 2009. __________________________________ Bryan Goff Professor Directing Treatise __________________________________ Charles Brewer University Representative __________________________________ John Drew Committee Member __________________________________ Christopher Moore Committee Member The Graduate School has verified and approved the above-named committee members. ii To my entire family, because your support, love, encouragement, dedication and prayer is what got us all through this journey! iii ACKNOWLEDGEMENTS I would like to thank my committee for their unending support and dedication to getting me through this degree. Your knowledge, encouragement, criticism and guidance is most gratefully appreciated. Special thanks are extended to Bryan Goff for his tireless efforts in the preparation of this manuscript. Thank you to Dr. Evan Jones and Mrs. Kari Zamora for your suggestions and ideas regarding the theoretical aspects of this work. Thank you to all of my professors at the University of Cincinnati College- Conservatory of Music, Wright State University, the University of Florida and The Florida State University. You have all been inspirational to me, not only as a musician, but as a person as well. I have learned as much about life as I have about music. Thank you to Daniela Stein-Lorentz and the staff at the Hessische Universitäts- und Landesbibliothek in Darmstadt, Germany. Your willingness and patience in making so many copies and answering so many questions has been wonderful. Thank you to Virginia Alvarez for your countless hours of babysitting, so that I could spend countless hours in the library. You deserve this degree as much, if not more, than me! Thank you to Rodney and LuAnn VanPelt for your love and support from day one. Your daughter is the best thing that has ever happened to me! Thank you to Gary and Lenita Haynes, also known as Mom and Dad. Your unconditional love, support and dedication have been the paramount motivator throughout this entire journey. This one’s for you! iv While my daughters had no clue what I was trying to accomplish, they, too, deserve a great deal of my gratitude. Their smiles and laughs were enough to brighten even the darkest days. And finally, thank you to my wonderful wife, Laurie. Your dedication to our family and me was the most integral part of the completion of this project and degree. You always have the perfect words of encouragement and, amazingly, the patience and tenacity to stick with me, and for that I am the most humbly grateful. I love you with all of my heart! v TABLE OF CONTENTS List of Examples ........................................................................................ vii Abstract ............................................................................................... ix 1. CHRISTOPH GRAUPNER – LIFE AND WORKS............................. 1 LIFE ............................................................................................... 1 WORKS ............................................................................................... 5 2. THE TRUMPET AND ITS USE IN GRAUPNER’S TIME................. 6 CLARINO REGISTER ........................................................................ 6 PERFORMANCE TECHNIQUES....................................................... 8 OTHER COMPOSERS FOR CLARINO............................................. 10 3. BRIEF ANALYSIS OF SINFONIA, GWV 511................................... 12 THE SINFONIA................................................................................... 12 SINFONIA, GWV 511.......................................................................... 13 4. PERFORMANCE PRACTICES ......................................................... 15 TEMPO ............................................................................................... 15 ORNAMENTATION ........................................................................... 18 DYNAMICS......................................................................................... 24 ARTICULATION................................................................................. 25 CRITICAL COMMENTARY.................................................................... 32 COPY OF CHRISTOPH GRAUPNER’S TITLE PAGE........................... 33 COPY OF CLARINO I MANUSCRIPT ................................................... 34 CRITICAL EDITION (FULL SCORE) ..................................................... 36 BIBLIOGRAPHY....................................................................................... 59 BIOGRAPHICAL SKETCH...................................................................... 62 vi LIST OF MUSICAL EXAMPLES Ex. 1: The harmonic series. Ex. 2: Single-tonguing syllables. Ex. 3: Double-tonguing syllables Ex. 4: (1) Violin I, mvt. 1, m. 3. (2) Vln. I, mvt. 1, m. 25. Ex. 5: Vln. I, mvt. 3, mm. 18-21. Ex. 6: (1) Clarino I, mvt. 1, mm. 11-12. (2) Clarino I, mvt. 1, m. 38. Ex. 7: Clarino I, mvt. 3, mm. 81-84. Ex. 8: Clarino I and II, mvt. 1, mm. 45-46. Ex. 9: Clarino I, mvt. 2, mm. 11-14. Ex. 10: Rules of duration for appoggiaturas. Ex. 11: Clarino I, mvt. 2, mm. 11-12. Ex. 12: Clarino I, mvt. 2, m. 11. (1) Written appoggiatura. (2) Performed appoggiatura. Ex. 13: Violin I and II, mvt. 2, m.16. Ex. 14: Clarino I, mvt. 1, mm. 76-80. Ex. 15: Clarino I and II, mvt. 2, mm. 28-31. Ex. 16: Clarino I and II, mvt. 2, mm. 12-15. Ex. 17: Violin I and II, mvt. 1, mm. 15-16. Ex. 18: (1) Written mordent. (2) Standard mordent. (3) Inverted mordent. Ex. 19: Violin I and II, mvt. 2, m. 24. Ex. 20: Violin I and II, mvt. 3, m. 66. Ex. 21: Violin I, mvt. 3, m. 66, as performed. (1) Standard. (2) Inverted. Ex. 22: Violin I, mvt. 1, mm. 13-14. vii Ex. 23: Clarino I, mvt. 1, m. 53. Ex. 24: Clarino I, mvt. 2, mm. 37-38. Ex. 25: Fantini’s unequal articulations, no. 1. Ex. 26: Fantini’s unequal articulations, no. 2. Ex. 27a: Possible slurred articulations for Ex. 23. Ex. 27b. Possible slurred articulations for Ex. 23 (sounding). Ex. 28a: Possible slurred articulations for Ex. 24. Ex. 28b: Possible slurred articulations for Ex. 24 (sounding). Ex. 29: Possible unequal tonguing articulations for Ex. 23. Ex. 30: Possible unequal tonguing articulations for Ex. 24. Ex. 31: Violin I and II, mvt. 1, m. 14. (Manuscript) Ex. 32: Violin I and II, mvt. 1, m. 14. Ex. 33: Accents in all strings, mvt. 1, mm. 68-70. viii ABSTRACT The baroque era boasted two of the world’s most well-known composers, Johann Sebastian Bach and George Friedrich Handel. Lost in the historical web are many of the composers whom they influenced. Christoph Graupner (1683-1760) is one of these composers. While the compositional skill of Graupner will never be as revered as Bach or Handel, his contribution to the trumpet repertoire is nevertheless significant. This treatise provides biographical information, critical commentary and an edition of Sinfonia, GWV 511 by Christoph Graupner. Composed around 1748, this work is scored for 2 clarini, 2 violins, viola and cembalo. The “autograph” manuscript for Sinfonia, GWV 511 is located at the Hessische Universitäts- und Landesbibliothek in Darmstadt, Germany. Copies of the manuscript were obtained by this author in October of 2007. This piece was chosen because of the extensive use of trumpets in a chamber music setting. There are several works by Graupner that include trumpet yet few have been published. Sinfonia, GWV 511 is a substantial work in the style of an Italian sinfonia. Topics of performance techniques pertaining to this work will also be examined, with a specific focus on the clarino register, articulation and ornamentation. While the manuscript in Darmstadt includes a full score and parts, this critical edition will include a score in modern notation. This edition will contain all of the composer’s marks for dynamics, articulations, and tempi reflected in the original manuscript. Other editorial marks will be differentiated from those of Graupner’s using alternate notations. Finally, a realization of the figured bass will be incorporated into the score. ix CHAPTER ONE CHRISTOPH GRAUPNER – LIFE AND WORKS Christoph Graupner (1683-1760) was a highly respected composer during the baroque era, although he never obtained the recognition that Bach and Handel received. He composed over 2,000 works in the forms of sinfonias, suites, concertos, cantatas, operas and chamber music. Graupner’s compositional output for trumpet is great, including at least 36 pieces in various forms, mostly sinfonias which include two trumpets. Perhaps the most impressive aspect of his music is the diversity of compositional styles he used: “he seems to have achieved a brilliant fusion of contemporary trends by using German tendencies while exploring new stylistic trends.”1 Life Christoph Graupner was born on January 13, 1683 in Kirchberg, Germany. He received his first musical training from the local cantor Michael Mylius and
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