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2009 Sinfonia in D, GWV 511: A Critical Edition Randall D. Haynes

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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 organist Nikolaus Küster. In 1693 Küster was appointed as organist in Reichenbach, a town near Kirchberg. Graupner followed him to continue his musical studies where he attended the local school. In 1696, at the age of 13, Graupner enrolled at the famed Thomasschule in Leipzig where his primary teachers were Johann Schelle and Johann Kuhnau. Schelle, the cantor at the Thomaskirche, was influential in the development of the Lutheran cantata, which Graupner later became so adept at composing. Kuhnau was appointed organist at the Thomaskirche in 1684 and succeeded Schelle as cantor in 1701. Kuhnau composed in concertato style and later wrote reform cantatas that contained arias and recitatives, both secco (with only continuo accompaniment) and accompagnato (with orchestral accompaniment), characteristics that Graupner emulated early in his career.2 Among his classmates at the Thomasschule were Georg Philipp Telemann, Johann David Heinchen and Gottfried Grünewald. He began studying law at the University of Leipzig in 1704, but spent only two years studying jurisprudence because of a Swedish military invasion.

1 Genevieve Soly, Christoph: The Life and Works of Christoph Graupner, 2004, http://www.goldbergweb.com/en/magazine/composers/2004/02/20204_3.php (accessed November 17, 2008). 2 Rene R. Schmidt, “The Christmas Cantatas of Christoph Graupner (1683-1760).” Vol. 1. PhD. diss., University of North Texas, 1992

1 Graupner then moved to Hamburg to seek employment, and in 1706 received his first professional post at the Gänsemarktoper, an opera company in Hamburg. He occupied the position of harpsichordist, which was vacated only a day before his arrival in Hamburg. “This position allowed him to explore and practice theatrical writing. During his time there he composed five operas and possibly collaborated on another three.”3 In 1709, Graupner accepted an invitation to become the vice-Kapellmeister at Darmstadt in Hesse. “The Landgrave of Darmstadt, Ernst Ludwig (1667-1739), had become a ruler of the Hessen government at the age of eleven.”4 Ernst Ludwig had an appreciation for music, as he was a composer and lute player and was a well-traveled individual who visited Paris and Vienna prior to his visits to Hamburg. “It was possible that the splendor-loving Landgrave conceived an idea while in Hamburg that a permanent opera house in Darmstadt would add richness and fullness to the local court life.”5 He was so enamored by opera that Jean-Baptiste Lully’s opera Acis et Galatée was performed as part of his wedding celebrations.6 Ernst Ludwig made certain that Graupner had the best available musicians for the court, no matter the cost. “Unlike Bach, who had to deal with students in the choirs at Leipzig, Graupner had at his disposal some of the finest musicians in Germany.”7 In 1711 Graupner was appointed Kapellmeister at the cathedral in Darmstadt upon the failing health of his predecessor, Carl Briegel. Gottfried Grünewald, a close friend and classmate of Graupner’s from the Thomasschule, was appointed as vice-Kapellmeister in the same year. Also in that same year Graupner was married to Sophie Elisabeth Eckard, daughter of a Lutheran priest - they had six sons and one daughter. During the early years of his appointment Graupner focused his energy on composing operas because of the size of the court orchestra, which reached 40 musicians at its height. Graupner’s former classmate at the Thomasschule, Johann Friedrich Fasch (1688-1758), sought Graupner’s instruction in composition in 1712. He studied with Graupner for fourteen weeks, then departed to play violin in Bayreuth. Following his departure in 1712, Fasch began sending Graupner manuscripts of his work. Many of Fasch’s overtures dated after 1713 are held in the Darmstadt library. “Also preserved in

3 Andrew D. McCredie, Christoph Graupner, Vol. 10, in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie (Washington, D.C.: Macmillan Publishers Limited, 2001), p. 312. 4 Schmidt, p. 17. A Landgrave was the sovereign ruler of a territory. In this case, Ernst Ludwig exercised sovereign rights over the Darmstadt region of Hesse, Germany. The Hesse state is in west- central Germany. 5 Ibid. 6 Ibid., p. 20. 7 Ibid., p. 24.

2 the library are copies, in Graupner’s hand, of concertos, symphonies and a sonata by Fasch.”8 Included in this collection is Fasch’s Concerto in D for trumpet, two oboes, strings and continuo. The bond between Graupner and Telemann was strengthened when, in 1712, Telemann was employed at the Barfüßerkirche (Church of the Barefoot Friars) in Frankfurt. “The musicians that Telemann had to work with, twenty-three in all, were mediocre, whereas of the thirty-four musicians at the Darmstadt Kapelle, a considerable number were outstanding singers and players.”9 Because Darmstadt is near Frankfurt, Telemann was able to contract some of these finer musicians to perform in his weekly concerts at the Frauenstein collegium musicium. This pleased the Landgrave of Darmstadt immensely as it brought fame to his court. There are several manuscripts of Telemanns’s works still held in Darmstadt in the handwriting of Graupner, Grünewald and Johann Samuel Endler (1694-1762). The inventory includes cantatas, operas, chamber sonatas and concertos. Telemann’s Concerto in D for trumpet, strings and continuo is included in this inventory. The last performance of an opera in Darmstadt during the eighteenth century was Antonio Caldara’s (1670-1736) La costanza vince l’anganno, in 1719. Financial hardships forced the reduction in numbers of the vocalists and orchestra, which lead Graupner to concentrate on composing cantatas, orchestral and instrumental works. “Ernst Ludwig was criticized for the lavish lifestyle he maintained and finally began to diminish the budget throughout the Landgraviate. Because the Landgrave was unwilling to improve the financial situation by abolishing horseback hunts and French comedies, several of the musicians that made the Kapelle famous were released from the service of the Landgrave.”10 By 1722, the financial state in Darmstadt forced Graupner to begin searching for new employment. “Aside from this, Telemann had left Frankfurt for an appointment in Hamburg, halting their artistic and personal exchange.”11 Upon the death of Johann Kuhnau in 1722, the council of Leipzig immediately began searching for his successor. Their first choice to fill this position was Telemann who had only been in Hamburg for one year. He was offered the position as cantor in Leipzig after passing perfunctory exams and interviews, however the Hamburg council refused to release him from his obligations. Telemann ultimately declined the position after accepting an increase in pay in Hamburg. After Telemann withdrew his application, Graupner successfully applied for the position.

8 David A. Sheldon, "Johann Friedrich Fasch: Problems in Style Classification," Musical Quarterly, no. LVIII (1972), p. 93-94. 9 Schmidt, p. 26. 10 Ibid., p. 33. 11 Ibid., p. 34.

3 After Graupner had passed a written audition the Leipzig council wrote a letter to Ernst Ludwig stating their intentions to hire him and to request his release from the Darmstadt court. Graupner also composed a letter to the Landgrave requesting his release from service, stating that his wages were no longer sufficient to support his large family. The Landgrave ultimately refused to accept his resignation, instead offering him a generous increase in salary with additional benefits. Graupner finally withdrew his name from candidacy in 1723 and Johann Sebastian Bach was then appointed to the post in Leipzig. “The new conditions of the contract bound Graupner for the rest of his life to the narrow but supposedly peaceful confines of Darmstadt.”12 He experienced the loss of both his vice-Kapellmeister Grünewald and Landgrave Ernst Ludwig in 1739. “From the time that Grünewald was appointed, the duties were shared to compose cantata cycles for performance in the Schloßkirche.”13 Johann Samuel Endler was appointed as the vice-Kapellmeister following Grünewald’s death. Ernst Ludwig’s son, Ludwig VIII, who had the same penchant for music and the theater as his father, succeeded the Landgrave. Ernst Ludwig VIII was determined to uphold the standards of the Kapelle but he had little success. Several positions were eliminated altogether and the musicians who stayed had their salaries reduced while their workload increased. But because of his agreement in 1723, Graupner’s salary remained the same. He lost his sight in 1754, but remained diligent in his position. Christoph Graupner died in 1760 in Darmstadt. He was highly regarded during his life, both as a person and as a musician. Perhaps his most famed attribute is his penmanship. There are no paintings of his likeness to be found, as he was a very modest man. He had an agreement with friend and colleague Gottfried Grünewald that, upon their deaths, all of their music would be burned. Upon Graupner’s death, this brought about a battle between the Graupner family and the Landgrave of Darmstadt. The family wanted all of the music so that they may sell his manuscripts while the court felt that the Landgrave owned all rights to the music because it was written under the employment of the court. Fortunately for historians, the court won the battle and most of his extant manuscripts still reside in the library in Darmstadt. “The only surviving work of Grünewald is a collection of seven partitas for harpsichord.”14

12 Schmidt, p. 55. 13 Ibid., p. 57. 14 George J. Buelow, Gottfried Grunewald, Vol. 10, in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie (Washington, D.C.: Macmillan Publishers Limited, 2001), p. 466.

4 Works Pinpointing one particular compositional style for Graupner would be a difficult task. Because he was able to travel to major musical capitals in Germany, such as Leipzig, Mannheim, Frankfurt and Hamburg, he kept up with contemporary musical trends. Through his association with composers in Leipzig, namely Kuhnau, he was introduced to the French and Italian elements of musical form, specifically the overture suite. In addition to his friendships with Telemann and Fasch, his job as a copyist under Kuhnau and Schelle exposed him to other composers’ music, introducing him to the styles of Alessandro Scarlatti (1660-1725) and Vivaldi, among others. This influence would manifest itself in his orchestral works, particularly the symphonies. Graupner’s symphonic work straddles late baroque and early classical styles. Graupner composed at least 36 pieces for, or with, trumpet. One characteristic of Graupner’s trumpet writing is that he expanded the range demands, requiring the trumpeter to play up to the 20th partial of the harmonic series. Few composers of his time wrote this high for trumpet. Georg von Reutter (1708-1772) and Michael Haydn (1737-1806) were among the most prominent composers who utilized the extremes of the clarino register. They extended the range even higher by writing up to the 24th partial. While Sinfonia, GWV 511, does not go quite this high, it does reach the 18th partial, still a challenging task on natural trumpet.

5 CHAPTER TWO

THE TRUMPET AND ITS USE IN GRAUPNER’S TIME

Clarino register During the baroque era it was commonplace for a composer to refer to trumpet parts as ‘clarino,’ as opposed to ‘trumpet.’ “Contrary to a rather widespread opinion, the term ‘clarino’ did not designate an instrument, but rather the highest register of the natural trumpet ensemble and also the high register of the natural trumpet.”15 Johann Ernst Altenburg, a trumpeter of the late 18th century, compared the clarino part with the soprano part in vocal music, calling it “a certain melody which is played mostly in the two-line octave [and which is] thus high and clear.”16 Below is an illustration of the harmonic, or overtone, series employed by the natural trumpet.

Ex. 1. The harmonic series.

The clarino register begins with the 8th partial and extends stepwise to the 16th partial of the harmonic series – from the 16th partial the notes are chromatic. The notes below the 8th partial, ranging down to the 3rd partial are referred to as the principale register. During the early times of the Baroque some players were more able to play in the clarino register than others and were thus considered specialists. “They played exclusively in [the] high register, as the “noble guild” to which they belonged forbade the

15 Edward Tarr, The Trumpet, trans. S.E. Plank and Edward Tarr (Portland, OR: Amadeus Press, 1988), p. 73. 16 Johann Ernst Altenburg, Trumpeters' and Kettledrummers' Art, trans. Edward Tarr (Nashville, TN: The Brass Press, 1974), p. 94.

6 principal [sic] (lower partials) trumpeters from using the registers of clarin trumpeters, and the clarin trumpeters from going down to the register which was the prerogative of principal trumpeters.”17 Prior to the baroque period the trumpet functioned as a signaling instrument and was also associated with the military. “The trumpet is set apart from all other musical instruments by the splendour of its tone. Even in the earliest of times it served as a signaling instrument, because its sound could be heard at a great distance.”18 At the beginning of the baroque era, the trumpet was mainly a military instrument with little or no music actually notated for the players. In 1607 Monteverdi wrote the first art music for trumpet, utilizing five trumpets in his opera L’Orfeo. Cesare Bendinelli wrote the first method for trumpet in 1614, The Entire Art of Trumpet Playing. Bendenelli’s method gave specific suggestions and guidelines for playing in the clarino register, such as not puffing one’s cheeks, “as it is a terrible vice and deforms the player.”19 It was not until 1638 that solo music was written for trumpet (with harpsichord or organ), a set of sonatas by Girolamo Fantini in Tuscany. The first sonatas for trumpet with string accompaniment appeared in 1665 from the pen of Maurizio Cazzati in Bologna. With these Opus 35 sonatas, “Cazzati ushered in an important era for the trumpet, for during the next 30 to 50 years virtually every Italian composer wrote at least one trumpet sonata. Torelli alone composed at least 15 sonatas for solo trumpet and another 16 for two or more trumpets. Other important composers for trumpet were Corelli, Franceschini, Stradella, Albinoni and Vivaldi, just to name a few.”20 The first German composer to write art music for trumpets was Michael Praetorius (1571-1621), In dulci jubilo, a Christmas carol. The piece was published in 1618 as no. 34 of his collection of church music entitled Polyhymnia Panegyrica et Caduceatrix and consisted of six trumpet parts (two in the clarino register). 21 Other German composers for trumpet from the early baroque period include Samuel Scheidt (1587-1654) and Heinrich Schütz (1585-1672). As players became more adept at playing in the clarino register, more composers began expanding the range of their writing. “When we think of composers making use of the new technical possibilities offered by the clarino register of the trumpet,

17 Curt Sachs, The History of Musical Instruments (Mineola, NY: Dover Publications, 2006), p. 328. 18 Edward Tarr, The Trumpet, p. 9. 19 Cesare Bendinelli, The Entire Art of Trumpet Playing, trans. Edward Tarr (Nashville: The Brass Press, 1614), p. 4. 20 Edward H. Tarr, "The Baroque Trumpet, The High Trumpet and the So-Called Bach Trumpet, Part One," The Brass Bulletin (BIM), no. 2 (1972), p. 26. 21 Edward Tarr, The Trumpet, p. 103.

7 Bach is the first name to come to mind.”22 Without doubt, he helped pave the way for later composers to test the limits of trumpet players of the time.

Performance Techniques Creating sound on a natural trumpet is no different than on a modern trumpet. The mechanics are very similar and the embouchure is nearly identical. Bendinelli gives this most basic of instruction for the natural trumpet player: If he wishes to begin playing, he should place the trumpet gracefully on his mouth, whereby attention should be paid to [the fact that] the [trumpet’s] bell should stay [in] a quite horizontal [position], pointing neither upwards nor downwards ... He should learn to lead his chin (maneggiar il barbozzo) [together] with the notes of each register – this is called “accenting the trumpet” and gives it elegance.23

The primary difference between playing modern trumpet and natural trumpet is articulation. Even though Altenburg’s method, Versuch einer Anleitung zur heroisch-musikalischen Trompeter- und Pauker-Kunst (1795), was published much later than that of Fantini, Modo per imparare a sonare di tromba (1638), Altenburg’s method for articulation is based on that of the late Baroque and is more appropriate than Fantini’s for the performance of Graupner’s music. Scott Sorenson states: Curiously enough, no true trumpet methods, as such, have survived from the time Fantini published his Modo per Imparare a Sonare di Tromba in 1638 to 1795 when Altenburg published his Trompeter-und Pauker-Kunst.24

Bendinelli, coincidentally, did not specify any type of articulation in his method, The Entire Art of Trumpet Playing (1614), except to say that “it does not matter whether [the tongue] is reversed, direct, [double], pointed, or otherwise, as long as the player finds it easy and becomes used to it, because he will then be able to investigate his instrument and pass over to matters of greater importance.”25 Altenburg offered two main syllables for single and double tonguing. These articulations, while resembling tonguing syllables on modern trumpet, apply to the performance of unequal tonguing on natural trumpet. The single tonguing pronunciations are ri ti ri ton and ki ti ki ton, as illustrated below:

22 Edward H. Tarr, "The Baroque Trumpet, The High Trumpet and the So-Called Bach Trumpet, Part One," p. 27. 23 Cesare Bendinelli, The Entire Art of Trumpet Playing, p. 4. 24 Scott Sorenson, "Printed Trumpet Instruction to 1835," International Trumpet Guild Journal 12 (September 1987): p. 5. 25 Cesare Bendinelli, The Entire Art of Trumpet Playing, p. 4.

8

26 Ex. 2. Single tonguing syllables.

Double tonguing used the same syllables, but the performer added the syllable ti to the beginning; thus ti ri ti ri ton and ti ki ti ki ton.

27 Ex. 3. Double tonguing syllables.

Quantz states that “since some notes must be tipped firmly and others gently, it is important to remember that ti is used for short, equal, lively and quick notes. Di, on the contrary, must be used when the melody is slow, and even when it is gay, provided that it is still pleasing and sustained.”28 “In order for their instruments to become accepted into art music, trumpeters had to develop two new techniques: they had to play softly, and they had to play the impure partials of the harmonic series in tune.”29 Altenburg states: Every [trumpeter] who wants to play with other instruments must . . . Differentiate as to where and what he plays. One can play more vigorously when playing with many instruments or in the open air than [when one is] with a small group or in a room, in which case the tone must be moderated more.30

The technique for playing louder or softer on natural trumpet is no different than on a modern trumpet. The performer merely uses more or less air, according to the dynamic specified. As for playing the impure partials in tune, the technique remains the same today. Trumpet players use their lips to bend the pitch, a technique known as “lipping.” Referring to Ex. 1, the 11th and 13th partials are particularly out

26 Johann Ernst Altenburg, Trumpeters' and Kettledrummers' Art, p. 92. 27 Altenburg, p. 92. 28 Johann Joachim Quantz, On Playing the Flute: The Classic of Baroque Music Instruction, trans. Edward R. Reilly (New York: Schirmer Books, 1985), p. 71-72. 29 Edward Tarr, The Trumpet, p. 85. 30 Altenburg, p. 98.

9 of tune and require extensive lipping. The seventh, 14th, 21st and 23rd partials are also out of tune, but require less lipping. Lipping notes down is much easier than lipping up because of the positioning of the lips inside the mouthpiece. Robert Donington writes: It is to be noticed that Mersenne leaves no doubt about the uncanny skill already available in the best court trumpet trumpet-corps: skill in modifying the pitch and volume by the lips and wind-pressure alone (so as hardly to need the mutes which some used); skill in picking out notes, even some not theoretically possible (i.e. by forcing); skill in every subtlety of refined musicianship.31

In regard to the technique of lipping, Crispian Steele-Perkins adds: The great art of clarino trumpet-playing was not only the art of blending comfortably with other instruments and voices, but in adjusting with the lip those notes of the natural harmonic series that came to be regarded as out of tune. Those notes lie precisely where the laws of physics dictate they should, and they are notes towards which a jazz musician instinctively is drawn.32

Some models of reconstructions of natural trumpets are built with finger holes to alleviate these tuning issues. There are arguments amongst some historians that any performance done on these copies are not historically accurate. As Steele-Perkins points out, “no living trumpeter has achieved recognition as being able to perform with consistent accuracy music such as the first trumpet part of Bach’s Magnificat or Mass in B Minor without recourse to modifications such as finger holes.”33 Another skill required of trumpeters was the trill. “Trills could be performed on all notes in the fourth octave of the harmonic series, generally beginning with the upper note.”34 In order to achieve a trill on a natural trumpet, the player is required to have flexible lips, rapidly slurring between adjacent notes.

Other Composers for Clarino Perhaps the most well-known composer for clarino is Johann Sebastian Bach. From the Christmas Oratorio and Mass in B minor to Brandenburg Concerto No. 2 and his many cantatas for voice and trumpet, the trumpet writing in the clarino register is challenging yet elegant. Georg Friedrich Handel (1685–1759) also composed for trumpet. He, like Bach, used the trumpet primarily in large orchestral settings, such as Music for the Royal Fireworks and Water Music.

31 Robert Donington, The Interpretation of Early Music (London: Faber and Faber, 1989), p. 567. 32 Crispian Steele-Perkins, Trumpet, p. 23. 33 Ibid., p. 24. 34 Edward Tarr, The Trumpet, p. 93.

10 Other notable composers of the late baroque era include Georg Reutter II, Johann Michael Haydn, Georg Philipp Telemann (1681–1767), Johann Melchior Molter (1696–1765) and Johann Wilhelm Hertel (1727–1789). By no means are these the only composers who wrote for trumpet in the clarino register, but their works are frequently performed today. Reutter composed two concertos for trumpet, and as previously mentioned, both explore the extreme upper register of the trumpet. In both concertos the melodic lines extend to the 20th partial, with his second concerto reaching the 24th partial. Michael Haydn, the brother of Franz Joseph Haydn, also composed two concertos for trumpet, boasting “the most virtuosic work that we know”35 with his second concerto, which approaches the 20th and 22nd partials by leaps, rather than stepwise motion like the note in the 24th partial he wrote in his first concerto. Telemann wrote one concerto for trumpet and strings, four concertos for trumpet with mixed instruments and four overtures with trumpets. “Telemann’s trumpet parts were written for the Darmstadt court trumpeter and composer Adolf Friedrich Schneider.”36 Molter wrote three concertos for solo trumpet, as well as five concerti for two trumpets. His works were composed for the court trumpeter at Karlsruhe, Carl Pfeiffer. Hertel composed four concertos for solo trumpet and one double concerto for trumpet and oboe. “His works were written for the Schwerin court trumpeter Johann Georg Hoese from Leipzig.”37

35 Edward Tarr, The Trumpet, p. 143. 36 Ibid., p. 142. 37 Ibid.

11 CHAPTER THREE

BRIEF ANALYSIS OF SINFONIA, GWV 511

The Sinfonia The term sinfonia has several definitions. Translated from Italian it means, simply, symphony. J.S. Bach used the term for his 3-part inventions, and orchestras, usually chamber ensembles, sometimes call themselves sinfonias. In the baroque period, the term sinfonia is often used to describe a three- movement work for orchestral instruments. “The word derives from the Greek syn (‘together’) and phone (‘sounding’), and thence from the Latin symphonia.”38 In the early 18th century the term became specific to operatic overtures in three movements. “Around 1695 Scarlatti began to use this type of sinfonia, which became the standard form of the Italian opera overture throughout most of the eighteenth century and was the framework for the early Classical symphony.”39 Graupner’s sinfonias show Scarlatti’s influence, both in instrumentation and form. “Scarlatti’s early sinfonie were generally written for strings either alone or with two trumpets, but gradually he took an interest in a more varied orchestra.”40 Graupner, however, did not write any of his sinfonias for strings alone. An overview of Graupner’s 27 sinfonias that include trumpets shows that all but one, GWV 511, were written for a larger orchestra.41 These employ pairs of flutes, horns, two to four timpani, or various combinations of these instruments. The overwhelming majority of his sinfonias, 53 in all, are scored for two horns and strings, sometimes with timpani. The largest ensemble for which he composed a sinfonia has 12 parts, GWV 611 – two horns, two flutes, two bassoons, two violettos, two violins, viola and cembalo. The largest ensemble that includes trumpets is scored for pairs of trumpets, flutes, horns, two violins, viola, cembalo and four timpani. Graupner composed nine sinfonias for this particular instrumentation, all in D major.

38 Jan Larue and Suzanne G. Cusick, Sinfonia, Vol. 23, in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie (Washington, D.C.: Macmillan Publishers Limited, 2001), p. 420. 39 Douglass M. Green, The Symphony 1720-1840: A comprehensive collection of full scores in sixty volumes. Series A, Volume I, ed. Barry S. Brook (New York & London: Garland Publishing, Inc., 1983), p. xxxv. 40 Ibid. 41 Kim Patrick Clow was gracious enough to provide a detailed spreadsheet outlining all of Graupner’s sinfonias, complete with instrumentations, keys and number of movements in each work.

12 The formal structure of Scarlatti’s later sinfonias also had great influence on Graupner. Once Scarlatti started using the three-movement scheme for his overture/sinfonia in 1695, he hardly ever varied. The tempo scheme Scarlatti employs of fast-slow-fast for the three movements is typical in Graupner’s works, with few exceptions. Commonly, first movements consist of the alternation of tutti and soli passages, characteristic of the concerto.42 “Scarlatti tended to treat the second movements of his sinfonias as transitional, rather than as individual movements. Finales remained similar to those of the sonata da chiesa-type of sinfonia: essentially dance pieces in two repeated sections, usually, but not always, having the character of vigorous minuets.”43 Regarding tonality, all of Graupner’s sinfonias are in major keys. “The first and third movements are in the tonic key, and the middle movements are invariably in the relative minor, parallel minor (influenced by Vivaldi), or, less frequently, the dominant.”44

Sinfonia, GWV 511 Graupner began composing his sinfonias around 1735, making GWV 511 one of the later examples of the 113 that he wrote. This sinfonia is in the three-movement format, “reflecting the Italian sinfonia style.”45 The primary difference between GWV 511 and the works of Scarlatti and Vivaldi is the lack of a slow movement. Where Scarlatti and Vivaldi included an andante or slower tempo as the middle movement, Graupner opted instead for a faster poco allegro. The opening movement, Allegro, is in ritornello form. The short string opening provides the main melodic material for the ritornello. The trumpet soloists enter in measure five with a melody of their own. Measures 17 through 26 are an episode in which the strings and trumpets share the melodic development with interplays. The ritornello theme returns briefly in measure 27, with another episode of trumpets and strings beginning in measure 33. The following episode, which lasts from measure 35 until measure 82, explores several tonal centers ranging from B minor to G major. The tonic key returns in measure 76. The final episode of the movement, measures 83 through 92, acts as a coda section with no restatement of the ritornello theme.

42 Douglass M. Green, The Symphony 1720-1840, p. xxxv. 43 Ibid. 44 Myron Rosenblum, The Symphony 1720-1840: A comprehensive collection of full scores in sixty volumes. Series C, Volume II, ed. Barry S. Brook (New York & London: Garland Publishing, Inc., 1984), p. xvii. 45 Ibid.

13 The second movement, Poco allegro, is one in which Graupner strays from the models of Scarlatti. It is in ternary form and does not maintain the character of Scarlatti’s typical slow movement, as Dent states regarding Scarlatti: [The opening movement] is followed by the usual transitional adagio, generally in ¾ time, sometimes starting with the character of a slow movement, but sooner or later relapsing into the conventional series of modulations serving as a framework for thematic treatment of some unimportant figure.46

Graupner’s A section, measures 1-36, is separated into two episodes based on contrasting themes and tonal centers. The first episode is from the beginning until measure 16 and the second episode is from measure 17 through 36. The B section, measures 37-52, is all developmental material, both harmonically and thematically. The return of the A theme begins at measure 53 and is a straightforward recapitulation. The final movement, Presto, is in rounded binary form. The A section is from the beginning to the repeat in measure 40. The cadence at measure 40 is somewhat atypical in that it creates a deceptive movement from the dominant to the relative minor in the B section. The beginning of the B section is a brief thematic development which then explores tonalities until the return of the A theme in measure 89.

46 Edward J. Dent, Alessandro Scarlatti: His Life and Works (London: Edward Arnold (Publishers) Ltd., 1962), p. 174.

14 CHAPTER FOUR

PERFORMANCE PRACTICES RELATIVE TO SINFONIA, GWV 511

Tempo It is important to have an understanding of the meanings of tempo markings such as allegro and other “time-words”47 when deciding on the composer’s desired tempo of the piece. Arnold Dolmetsch makes this clear when he states: The proper tempo of a piece of music can usually be discovered by an intelligent musician, if he is in sympathy with its style, and possesses sufficient knowledge of the instrument for which it was written. But here again we must guard against prejudice and so-called tradition, for many a musician who would be sensitive enough to the tempo of modern music, will not hesitate at committing the most glaring absurdity when “old music” is concerned.48

Robert Donington provides the following statement as justification for a performer’s choice of tempo: Every performer, however, brings a temperament of his own to his creative partnership with the composer; and nearly all music can be eased a little to the fast side or to the slow side, bringing out rather more of the brilliant or rather more of the expressive potentialities latent within its implications. It is not a matter, therefore, of finding the one right tempo, but of finding a right tempo for one interpretation.49

Tempo not only dictates the speed of a piece, it can also describe the mood of the music. “Time-words like allegro (cheerful), adagio (at ease) or grave (serious) also specify a mood in order to suggest a tempo.”50 One way to determine possible tempi is by considering the realistic speeds in which certain passages can be performed. The following example shows two rhythmic figures that are heard often in the first movement of the work in the strings.

47 Robert Donington, Baroque Music: Style and Performance - A Handbook (New York, NY: W.W. Norton & Company, 1982), p. 11. 48 Arnold Dolmetsch, The Interpretation of the Music of 17th and 18th Centuries, p. 27. 49 Robert Donington, Baroque Music: Style and Performance - A Handbook, p. 11. 50 Arnold Dolmetsch, The Interpretation of the Music of 17th and 18th Centuries, p. 27.

15

Ex. 4. (1) Violin I, mvt. 1, m. 3. (2) Vln.I, mvt. 1, m. 25.

At a reasonable tempo, such as dotted-quarter note equals 72, these and other similar passages can be played cleanly without sacrificing the interpreted mood. The tempo of the second movement is indicated as poco allegro which would be a similar tempo to the first movement allegro. While this tempo is attainable, as this movement is not as technically challenging as the opening movement, the work, as a whole, would lack diversity. Even though this piece is not a prescribed concerto form (i.e. fast-slow-fast) it was not uncommon to have some variance in the tempi and demeanors of the individual movements. It seems plausible that a tempo marking of quarter note equals 90 could have been used to create a respectable contrast from the opening and closing movements. The final movement has a tempo designation of presto, which Quantz indicates as eighth note equals 320, or dotted-quarter note equals c. 107.51 The string parts are extremely technical, thus a tempo no faster than dotted-quarter note equals 72 is recommended. This determination is based solely upon one figure in the string parts, shown below.

Ex. 5. Vln. I, mvt. 3, mm. 18–21.

It seems that anything faster would compromise the melodic structures and technical facilities of the performers. The main considerations of the tempi have been based on the string parts. In comparison, the trumpet parts are considerably less difficult. That is not to say, however, that they are easy. There are several examples, especially in the first movement, that are worthy of tempo consideration, based

51 Johann Joachim Quantz, On Playing the Flute: The Classic of Baroque Music Instruction, trans. Edward R. Reilly (New York: Schirmer Books, 1985), p. 286.

16 primarily on the technical ability of the trumpet players. The main issue is that of lip flexibility, as demonstrated in the following figures:

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.

The issue of flexibility is less profound when the piece is played on modern trumpets; however, speed of the tongued passages must be considered on both natural and modern trumpets. The following example is from the first movement, measures 45 and 46, showing both clarino parts with faster articulations.

Ex. 8. Clarino I and II, mvt. 1, mm. 45-46.

The tempi suggested based on the string parts are ideal for clean performance of the trumpet parts as well. To summarize tempo selection, C.P.E. Bach gives the following suggestions: The pace of a composition, which is usually indicated by several well-known Italian expressions, is based on its general content as well as on the fastest notes and passages contained in it. Due consideration of these factors will prevent an allegro from being rushed and an adagio from being dragged.52

52 C.P.E. Bach, Essay on the True Art of Playing Keyboard Instruments, p. 151.

17 Ornamentation In this work, Graupner’s written ornamentation is limited to trills, appoggiaturas and one other ambiguous notation, a cross (+), over certain notes. Example 9 is from the Clarino I part in the second movement. This shows both the use of appoggiatura and trill:

Ex. 9. Appoggiatura and trill, Clarino I, mvt. II, mm. 11-14.

“The appoggiatura can be interpreted in many ways. It can be descending (as shown in Ex. 9) or ascending, the descending being the most natural, for according to the most correct rules of composition they possess the true nature of an appoggiatura.”53 The appoggiaturas employed by Graupner in this work are of the short, descending type. By short, it means only that the appoggiatura note itself is not to be played the same length, or longer, than the note that follows. The short appoggiatura varies in length from the shortest performable, at the minimum, to a quarter or more of its main note according to the context, the maximum being, however, always shorter than would sound like a long appoggiatura in that context.54

C.P.E. Bach states that “the usual rule of duration for appoggiaturas is that they take from a following tone of duple length one-half of its value,”55 as follows:

Ex. 10. Rules of duration for appoggiaturas.

In other words, the appoggiatura note is half the length of the actual note. As is seen in the following excerpt from Graupner’s manuscript, he used as the appoggiatura note a normal-sized eighth note:

53 Leopold Mozart, The Treatise on the Fundamental Principles of Violin Playing, trans. Editha Knocker (New York, NY: Oxford University Press, 1990), p. 167. 54 Robert Donington, The Interpretation of Early Music, p. 206. 55 C.P.E. Bach, Essay on the True Art of Playing Keyboard Instruments, trans. William J. Mitchell (New York, NY: W.W. Norton & Company, Inc., 1949), p. 90.

18

Ex. 11. Clarino I, mvt. 2, mm. 11–12.

In regard to writing of this type, Quantz says: It is of little importance whether they have one or two crooks [tails]. Usually they have only one. Semiquavers [sixteenth notes] are generally used only before notes that must not be deprived of any of their value.56

Based on C.P.E. Bach’s explanation the correct way to interpret the performance of the appoggiaturas in this work follows:

Ex. 12. Clarino I, mvt. 2, m. 11. (1) Written appoggiatura. (2) Appoggiatura, as played.

The trills in this work are somewhat more straightforward than the appoggiaturas, but nonetheless require explanation. No ornament has had a more varied or interesting history; but much of its complication disappears when it is understood that the trill has not one main function to perform, but two. One is melodic and rhythmic decoration and coloration; the other is harmonic modification and intensification.57

Graupner only indicated a total of seven trills, three for the violins, three for both trumpets and one for solo trumpet. In this work, trills serve separate purposes for the instruments for which they are written. For instance, the trills written for the violins in the second movement are strictly cadential and should terminate on beat three.

56 Johann Joachim Quantz, On Playing the Flute: The Classic of Baroque Music Instruction, p. 91‐92. 57 Robert Donington, Baroque Music: Style and Performance - A Handbook, p. 125.

19

Ex. 13. Violin I and II, mvt. 2, m. 16.

This particular pattern is repeated two other times by the violins in the movement. The second movement has the only examples of written trills for the strings. The written trills for the trumpets occur in the first and second movements and only on sustained notes, suggesting that their primary purpose is for tonal coloring. Donington states that when continuous trills are found in wind and string instruments they serve to match a harpsichord “or purely as an effect of colour.”58 The following example shows the lone example of a trill for solo trumpet.

Ex. 14. Clarino I, mvt. 1, mm. 76-80.

This is considered a continuous trill and Donington further states: The continuous trill may be of any length from very short to very long; but whatever its length, it normally fills out the entire duration of the note on which it is placed.59

The remaining written trills in GWV 511 are for both clarino parts and are played concurrently. In each case the clarini are playing in thirds.

58 Robert Donington, The Interpretation of Early Music, p. 254. 59 Ibid., p. 253.

20

Ex. 15. Clarino I and II, mvt. 2, mm. 28-31.

Each of the two previous examples presents another issue worthy of clarification – the termination of the trills. In both cases the trill will terminate on the downbeat of the next measure, Ex. 14 on beat one of measure 80 and Ex. 15 on beat one of measure 31. The following example should terminate in the same manner.

Ex. 16. Clarino I and II, mvt. 2, mm. 12-15.

The final use of written ornamentation in this piece is that of a cross symbol, written +, in the violin parts. There are many possible explanations for this mark. Frederick Neumann60 gives five feasible interpretations: 1. Trill of any design (mostly non-keyboard, 17th and 18th century) 2. Unsupported upper-note trill, most likely grace-note trill 3. Unsupported main-note trill 4. One-stroke mordent 5. Multiple mordent

The following figure from the manuscript shows Graupner’s use of this mark:

60 Frederick Neumann, Ornamentation in Baroque and Post-Baroque Music, p. 597.

21

Ex. 17. Violin I and II, mvt. 1, mm. 15-16.

In the opening allegro it is difficult to assume that this mark would mean anything other than a mordent, as a trill of any kind at any allegro tempo would prove very difficult to perform. The question then becomes which type of mordent is intended. Of the two types of mordents Neumann suggests the best assumption would be the one-stroke variety. There are, then, two types of one-stroke mordents, standard and inverted. While the inverted mordent was not typically used during Graupner’s time, it is entirely possible that this was a precursor to classical ornamentation. This was common in the renaissance and early baroque periods, was out of fashion in the main baroque period, and began coming back by way of the Pralltriller curtailed to a Schneller about the middle of the eighteenth century.61

Ex. 18. Examples of standard and inverted mordent, as performed, Vln. I, mvt. 1, m. 16.

Both examples are acceptable options for the performance of these mordents. The inverted mordent would add harmonically to the V chord in this example, whereas the standard mordent would add the effect of a half-trill. Donington defines the half-trill, or Pralltriller, as “consisting of two repercussions: i.e. four notes. The last of the four is the main note.”62 At the tempo in which it would be performed in this movement, the four notes would become three, thus creating an inverted mordent, or Schneller. There is another instance of this ambiguous symbol in the second movement of the work where a case can be made that its intent is indeed a trill. In measure 24, Graupner uses the symbol in the Violin I part while using the tr symbol in the Violin II part.

61 Robert Donington, A Performer's Guide to Baroque Music, p. 203. 62 Ibid., p. 202.

22

Ex. 19. Violin I and II, mvt. 2, m. 24.

In two other instances of the same cadential trill, Graupner did use the tr symbol in both violin parts, thus making it clear that his intent in measure 24 was indeed a trill. One final example supporting the + symbol as a mordent is in the third movement, measures 66 and 70.

Ex. 20. Violin I and II, mvt. 3, m. 66 (exactly repeated in m. 70).

Ex. 21. Violin I, m. 66, as performed. (1) Standard mordent. (2) Inverted mordent.

The choice of how to perform this particular mordent is solely at the discretion of the musicians, considering tempo, ease of fingering and overall technical ability. There is one other notational curiosity in this work. In the first movement there occurs a symbol that resembles a traditional mordent sign in the Violin I part in measures 13 and 14.

23

Ex. 22. Violin I, mvt. 1, mm. 13-14.

Originally, the author assumed the symbols to be ornamentations, but, upon further study, has determined otherwise. The rhythmic and melodic material in these two measures is repeated often throughout the movement yet this notation is seen only in this example. In addition, the speed of the notes would make any additional embellishment extremely difficult for the performer to play cleanly. Therefore, the determination has been made that this was an instance where Graupner indicated slurs over the wrong notes and scribbled over the markings.

Dynamics There is limited use of written dynamics in the present work by Graupner. When considering the instrumentation it is interesting to note that there are no dynamic markings in the clarino parts. During the baroque era the onus fell on the performers to dictate dynamics. Words, abbreviations or signs for dynamic variation occur throughout the Baroque period, and increasingly so during the latter part of it. But most of this extremely important element of expression was left, in the usual way, to the enterprise and good judgment of the performers . . . It is very important to work out a good scheme of louds and softs, even where (as is mostly the case) few or no dynamic markings appear in the original notation.63

While Graupner did add dynamics, he did so very sparsely and without consistency. The majority of his written dynamics occur in the Violin I and Cembalo parts, while the rest of the ensemble relied on what the aforementioned parts played. The most important aspect of dynamics is balance. “Balance in concerted music is largely although not entirely a dynamic matter.”64 Donington explains balance well when he quotes Charles Avison’s Essays on Musical Expression (London, 1752, p. 128): When the inner Parts are intended as Accompanyments only, great Care should be taken to touch them in such a Manner, that they may never predominate, but be always

63 Robert Donington, A Performer's Guide to Baroque Music, p. 290-291. 64 Ibid., p. 293.

24 subservient to the principal Performer, who also should observe the same Method, whenever his Part becomes an Accompanyment…65

Altenburg makes a similar statement specific to trumpet players: [Do] Not always play with the same loudness or softness, but rather [in a manner] appropriate to the expression or character [of a] given [movement], and [in the case of vocal music], of its accompanying text . . . Differentiate as to where and what he plays. One can play more vigorously when playing with many instruments or in the open air than [when one is] with a small group or in a room, in which case the tone must be moderated more.66

He also instructs the trumpet player to: Make a distinction between principal and passing notes, so that the former are played somewhat louder than the others. In simple meter, the principal notes to which I am referring are ordinarily the first, third, fifth, etc., and the passing notes [are] generally the second, fourth, sixth, etc., which can be played with somewhat less stress, comparatively speaking.67

In summary, Quantz states: Light and shadow must be constantly maintained. No listener will be particularly moved by someone who always produces the notes with the same force or weakness and, so to speak, plays always in the same colour, or by someone who does not know how to raise or moderate the tone at the proper time. Thus a continual alteration of the Forte and Piano must be observed.68

Articulation There are two primary notations designating specific articulation that Graupner used in his manuscripts – the slur and the accent. While the accent marking was used sparingly in the current work, and only in the violin parts, the slur was used quite frequently. The slur occurs in Baroque music with increasing frequency. It may be used to tie notes; to show extreme legato (especially one bow or breath, or syllable singing); to show separate notes grouped in one phrase; and in conjunction with dots or dashes, to show separate notes taken in one bow.69

65 Robert Donington, A Performer's Guide to Baroque Music, p. 293. 66 Johann Ernst Altenburg, Trumpeters' and Kettledrummers' Art, p. 98. 67 Ibid., p. 96. 68 Johann Joachim Quantz, On Playing the Flute: The Classic of Baroque Music Instruction, p. 124. 69 Robert Donington, The Interpretation of Early Music, p. 473.

25 Graupner was meticulous when it came to the use of the slur and made his intentions clear as to where he expected them to be used. Even while his intentions were obvious, during the Baroque, the performer still made the determinations as to the appropriate use of articulations. Leopold Mozart states that “among the signs of music the slur has considerable importance, although many pay small attention to it.”70 In regard to clarino playing, Altenburg offers these instructions as to when to use certain articulations. (a) Ascending and leaping passages, or arpeggio-like sections and triplets with skips can be tongued shortly. (b) Rapid passages, and notes following one another stepwise, are usually slurred. (c) In certain figures only some of the notes are tongued – for example, the first, or the first two, [or] also perhaps the last – while others are slurred, depending on whether they occur in intervals or stepwise.71

Based on Altenburg’s suggestions, the following examples, and others similar, could be played either tongued or slurred, based on the choice and ability of the trumpet player.72

Ex. 23. Clarino I, mvt. 1, m. 53.

Ex. 24. Clarino I, mvt. 2, mm. 37-38.

All of Graupner’s written slurs in the clarino parts adhere to the suggestions made by Altenburg and present no other issues for the clarinist. Supposing that the performers choose not to slur passages such as the previous examples there are some guidelines for the tonguing that would be employed. “Unequal tonguings, as explained in various methods between 1535 and 1795, are the foundation of tonguing technique on all Baroque wind

70 Leopold Mozart, The Treatise on the Fundamental Principles of Violin Playing, p. 45. 71 Johann Ernst Altenburg, Trumpeters' and Kettledrummers' Art, p. 97. 72 Graupner did not assign any articulation marks to these passages in the manuscript.

26 instruments.”73 In order to achieve this unequal tonguing, Fantini provided three differing types of articulations.

Ex. 25. Fantini’s unequal articulations.

The following example illustrates the unequal tonguing on sixteenth-note passages.

Ex. 26. Fantini’s unequal articulations, no. 2.

In a footnote in his translation of the Fantini method, Edward Tarr explains the usage of these syllables: Note that the tonguing syllables accompanying sixteenth-note passages imply groups of two. The syllables tia tia da and dia dia da . . . are a very early indication of slurs, two sixteenths each. Equal tonguing, as we are used to playing today, was practised in Fantini’s day only on longer note values. The dividing line between equal and unequal tonguing was the eighth note.74

Based on this explanation, the performer could play the passages from Examples 23 and 24 in the following fashions:

Ex. 27a. Possible slurred articulations for Ex. 23.

73 Edward H. Tarr, The Art of Baroque Trumpet Playing, Vol. 1, p. 30. 74 Girolamo Fantini, Modo Per Imparare a Sonare Di Tromba, trans. Edward H. Tarr (Nashville, TN: The Brass Press, 1978), p. 4.

27

would sound like:

Ex. 27b. Possible slurred articulations for Ex. 23 (sounding).

Ex. 28a. Possible slurred articulations for Ex. 24.

would sound like:

Ex. 28b. Possible slurred articulations for Ex. 24 (sounding).

These articulations represent the slurred approach to the rhythms and may be used interchangeably based on the performer’s preference. The following examples illustrate the options employing unequal tonguing.

Ex. 29. Possible unequal tonguing articulations for Ex. 23.

28

Ex. 30. Possible unequal tonguing articulations for Ex. 24.

There is no specific tempo designation suggested by Fantini, Altenburg or Tarr which would dictate the different uses of unequal tonguing and slurring, therefore either type of articulation is acceptable and is at the sole discretion of the performers. Regarding the writing of slurs for the strings, these designations can be interpreted in one of two ways. First, a slur can be read as merely connecting the notes through a series of legato strokes, thus actually lightly articulating each note. Mozart explains the second variety of slurs: …be they 2, 3, 4, or even more [notes], [all must] be taken together in one bow-stroke; not detached but bound together in one stroke, without lifting the bow or making any accent with it.75

For the most part in this work, the string slurs should be played with the same bow-stroke. There are some instances in the manuscript where Graupner wrote a slur for one instrument but omitted it in another where the rhythmic material is identical. One such example occurs in measure 14 of the first movement.

Ex. 31. Violin I and II, mvt. 1, m 14, manuscript.

There are four other examples of this inconsistency in the first movement. This omission occurs only once in the second movement, in the first violin part in measure 60. The third movement has no examples of this type of discrepancy. In the present edition, the omissions made by Graupner are

75 Leopold Mozart, The Treatise on the Fundamental Principles of Violin Playing, trans. Editha Knocker (New York, NY: Oxford University Press, 1990), p. 45.

29 inserted by the editor and are shown as dashed slurs, shown in Ex. 32. This is the same measure as illustrated in Ex. 31.

Ex. 32. Violin I and II, mvt. 1, m. 14.

The only other type of specific articulation written by Graupner is the use of accents in the string parts. The accents are shown as vertical dashes, illustrated in Ex. 33.

Ex. 33. Accents in all strings, mvt. 1, mm. 68-70.

Leopold Mozart describes these accents in his treatise: A composer often writes notes in which he wishes to be played each with a strongly accented stroke and separated from one another. In such cases he signifies the kind of bowing by means of little strokes which he writes over or under the notes.76

Frederick Neumann also considers these marks to indicate accents, defining them as “staccato articulations, usually implying greater sharpness than the dot.”77

76 Leopold Mozart, The Treatise on the Fundamental Principles of Violin Playing, p. 47. 77 Frederick Neumann, Ornamentation in Baroque and Post-Baroque Music, p. 594.

30 In closing, Donington summarizes an excellent approach to performing music of the Baroque: Somewhere within that broad but not unlimited range of possibilities a good modern performer can find an authentic answer which is not definitive, but individual. It is authentic because it lies within the boundaries of the style.78

78 Robert Donington, A Performer's Guide to Baroque Music, p. 31.

31 CRITICAL COMMENTARY

I must rightly praise here the Herr Kapellmeister Christoph Graupner of Darmstadt, whose scores are so neatly written that they could compete with a copperplate engraving. Much significant beauty is found. He states: I have gradually become accustomed to write my scores as clearly as possible so that I do not have to correct them, in order to be helpful for the copyist in case he is not musical and to be above the irksome daily corrections.79

This edition is based on Graupner’s autograph score and manuscript housed in the Hessische Universitäts- und Landesbibliothek in Darmstadt, Germany.

The Critical Edition Graupner’s penmanship and meticulous attention to detail was indeed superb so few edits were necessary. This edition contains all of the composer’s marks for dynamics, articulations, and tempi reflected in the original manuscript. Other editorial marks are differentiated from those of Graupner’s using the following indications: 1) All slurs that are editorial are notated with broken slurs. 2) All other markings that are not Graupner’s are notated in brackets [ ]. 3) The continuo parts in the manuscript are void of figures. Therefore, the realization of the figured bass is that of the editor. It is not necessarily intended for performance, rather as a harmonic guide for the performer. 4) All first and second endings are strictly editorial.

79 Johann Mattheson, Der vollkommene Capellmeister: A Revised Translation with Critical Commentary, ed. Ernest C. Harriss (Ann Arbor, MI: UMI Research Press, 1981), p. 866.

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58 BIBLIOGRAPHY

Altenburg, Johann Ernst. Trumpeters' and Kettledrummers' Art. Translated by Edward Tarr. Nashville, TN: The Brass Press, 1974.

Bach, C.P.E. Essay on the True Art of Playing Keyboard Instruments. Translated by William J. Mitchell. New York, NY: W.W. Norton & Company, Inc., 1949.

Baines, Anthony. Brass Instruments: Their History and Development. Mineola, NY: Dover Publications, Inc., 1993.

Barclay, Robert. The Art of the Trumpet Maker: The Materials, Tools, and Techniques odf the Seventeenth and Eighteenth Centuries in Nuremberg. Oxford: Clarendon Press, 1992.

Bate, Philip. The Trumpet and Trombone. 2d ed. London: Ernest Benn Ltd., 1978, 1978.

Bendinelli, Cesare. The Entire Art of Trumpet Playing. Translated by Edward Tarr. Nashville: The Brass Press, 1614.

Borgo, Elliot Del. "The Baroque Trumpet." The Instrumentalist, no. 22 (October 1967): 73-76.

Borwick, Anthony Baines and John. "Harmonic Series." Oxford Music Online. Edited by Alison Latham. http://www.oxfordmusiconline.com.proxy.lib.fsu.edu/subscriber/article/opr/t114/e3137 (accessed November 19, 2008).

Buelow, George J. Gottfried Grunewald. Vol. 10, in The New Grove Dictionary of Music and Musicians, edited by Stanley Sadie. Washington, D.C.: Macmillan Publishers Limited, 2001.

Cusick, Jan Larue and Suzanne G. Sinfonia. Vol. 23, in The New Grove Dictionary of Music and Musicians, edited by Stanley Sadie. Washington, D.C.: Macmillan Publishers Limited, 2001.

Cyr, Mary. Performing Baroque Music. Portland, OR: Amadeus Press, 1992.

Dahlqvist, Reine. The Keyed Trumpet and Its Greatest Virtuoso, Anton Weidinger. Nashville: The Brass Press, 1975.

Dent, Edward J. Alessandro Scarlatti: His Life and Works. London: Edward Arnold (Publishers) Ltd., 1962.

Dolmetsch, Arnold. The Interpretation of the Music of 17th and 18th Centuries. Mineola, NY: Dover Publications, Inc., 2005.

Donington, Robert. A Performer's Guide to Baroque Music. New York, NY: Charles Scribner's Sons, 1973.

59 Donington, Robert. Baroque Music: Style and Performance - A Handbook. New York, NY: W.W. Norton & Company, 1982.

—. The Interpretation of Early Music. London: Faber and Faber, 1989.

Fantini, Girolamo. Modo Per Imparare a Sonare Di Tromba. Translated by Edward H. Tarr. Nashville, TN: The Brass Press, 1978.

Green, Douglass M. The Symphony 1720-1840: A comprehensive collection of full scores in sixty volumes. Series A, Volume I. Edited by Barry S. Brook. New York & London: Garland Publishing, Inc., 1983.

Marcuse, Sibyl. Musical Instrments: A Comprehensive Dictionary. Garden City, NY: Doubleday & Company, Inc., 1964.

Mattheson, Johann. Der vollkommene Capellmeister: A Revised Translation with Critical Commentary. Edited by Ernest C. Harriss. Ann Arbor, MI: UMI Research Press, 1981.

McCredie, Andrew D. Christoph Graupner. Vol. 10, in The New Grove Dictionary of Music and Musicians, edited by Stanley Sadie. Washington, D.C.: Macmillan Publishers Limited, 2001.

Menke, Werner. History of the Trumpet of Bach and Handel. Translated by Gerald Abraham. Nashville: The Brass Press, 1972.

Mozart, Leopold. The Treatise on the Fundamental Principles of Violin Playing. Translated by Editha Knocker. New York, NY: Oxford University Press, 1990.

Neumann, Frederick. Ornamentation in Baroque and Post-Baroque Music. Princeton, NJ: Princeton University Press, 1978.

Quantz, Johann Joachim. On Playing the Flute: The Classic of Baroque Music Instruction. Translated by Edward R. Reilly. New York: Schirmer Books, 1985.

Rosenblum, Myron. The Symphony 1720-1840: A comprehensive collection of full scores in sixty volumes. Series C, Volume II. Edited by Barry S. Brook. New York & London: Garland Publishing, Inc., 1984.

Sachs, Curt. The History of Musical Instruments. Mineola, NY: Dover Publications, 2006.

Schmidt, Rene R. "The Christmas Cantatas of Christoph Graupner (1683-1760)." Vol. 1. PhD. diss., University of North Texas, 1992.

Sheldon, David A. "Johann Friedrich Fasch: Problems in Style Classification." Musical Quarterly, no. LVIII (1972).

60 Smithers, Don L. The Music and History of the Baroque Trumpet Before 1721. Syracuse: Syracuse University Press, 1973.

Soly, Genevieve. "Christoph: The Life and Works of Christoph Graupner." Goldberg Magazine, 2004.

Sorenson, Scott. "Printed Trumpet Instruction to 1835." International Trumpet Guild Journal 12 (September 1987): 5.

Steele-Perkins, Crispian. Trumpet. London: Kahn and Averill, 2001.

Tarr, Edward H. The Art of Baroque Trumpet Playing. Vol. 1. 3 vols. Mainz: Schott Musik International GmbH & Co. KG, 1999.

Tarr, Edward H. "The Baroque Trumpet, The High Trumpet and the So-Called Bach Trumpet, Part One." The Brass Bulletin (BIM), no. 2 (1972).

Tarr, Edward. The Trumpet. Translated by S.E. Plank and Edward Tarr. Portland, OR: Amadeus Press, 1988.

61 BIOGRAPHICAL SKETCH

Randall D. Haynes, a native of Miamisburg, Ohio, is currently a candidate for the degree of Doctor of Music at The Florida State University. He has received degrees from Wright State University and the University of Florida. Mr. Haynes is currently second/associate principal trumpet in Sinfonia Gulf Coast in Destin, FL. He has also performed with the Tallahassee Symphony, Central Florida Symphony, Central Florida Philharmonic, Southwest Florida Symphony, Gainesville Chamber Orchestra, Springfield Symphony, Middletown Symphony, Richmond Symphony and Lima Symphony. Mr. Haynes is an active soloist, performing recitals throughout the United States. He was the third place winner in the National Trumpet Competition in 1999 and has won several regional competitions. Mr. Haynes is a member of the American Federation of Musicians, College Music Society, Golden Key International Honour Society, International Trumpet Guild, Phi Mu Alpha Sinfonia and Pi Kappa Lambda. Mr. Haynes currently resides in Tallahassee, FL with his wife Laurie and their two children, Christina and Emily. He is active in the music ministries at his church and performs frequently at other churches in the area.

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