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The Development of the Bassoon Idiom As Seen in Three Concerti by Antonio Vivaldi

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The Development of the Bassoon Idiom As Seen in Three Concerti by Antonio Vivaldi The Development of the Bassoon Idiom as Seen in Three Concerti by Antonio Vivaldi, Johann Christian Bach, and Wolfgang Amadeus Mozart A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Music Andrew J. Payne December 2020 ©2020 Andrew J. Payne. All Rights Reserved. 2 This thesis titled The Development of the Bassoon Idiom as Seen in Three Bassoon Concerti by Antonio Vivaldi, Johann Christian Bach, and Wolfgang Amadeus Mozart by ANDREW J. PAYNE has been approved for the School of Music and the College of Fine Arts by Richard D. Wetzel Professor of Music Matthew R. Shaftel Dean, College of Fine Arts 3 Abstract PAYNE, ANDREW J., M.M., December 2020, Music History The Development of the Bassoon Idiom as Seen in Three Bassoon Concerti by Antonio Vivaldi, Johann Christian Bach, and Wolfgang Amadeus Mozart Director of Thesis: Richard D. Wetzel This thesis describes mechanical improvements made to the bassoon and how they influenced solo compositions for the instrument in the 17th and 18th centuries. By focusing on bassoon concertos by three leading composers, the study provides a deeper understanding of the idiomatic perceptions and tendencies that characterized the approaches to the bassoon as an instrument with distinctive tone color, and to the concerto as a preferred genre in the Baroque, Galant, and Classical style eras. The concertos analyzed are Antonio Vivaldi's Concerto for Bassoon in Bb Major, RV 503, Johann Christian Bach's Concerto for Bassoon and Orchestra in Bb Major, and the Concerto for Bassoon K191 by Wolfgang Amadeus Mozart. Each concerto has three movements in what had become the standard fast-slow-fast format for the genre. All three concertos are in Bb Major, allowing comparisons of range, interval preference, and melodic material, among other features. The three concertos retain elements of “ritornello” procedure, initiated by earlier composers, notably Torelli. While these commonalities will be discussed, our emphasis is primarily on the structure of the instruments used by the composers. The bassoon Vivaldi knew was likely a four-keyed instrument. This instrument will be described then compared to the bassoons in use at the time of J.C. Bach and Mozart. Citing treatises and other sources published prior and contemporary with these 4 concertos, developments in the bassoon's design will be noted and related to features in the concertos that reflect the developments. Especially important to the following study has been Simon McVeigh and Jehoash Hirshberg’s The Italian Solo Concerto.1 Analyses are based upon scores in the collected editions, and Akos Fodor's edition of the J.C. Bach Concerto2. My analysis follows the methodology outlined by William Marvin’s introduction to writing musical analytical essays3 and Richard J. Wingell's Writing About Music: An Introductory Guide.4 Donald Francis Tovey's Essays in Musical Analysis has been especially helpful in formulating descriptions of harmonic and melodic language, the keys and scales used to create the solo lines, modulations, temporal organizations, phrase structures, range, chromaticism, ornamentation, and idiomatic characteristics.5 My approach to the thesis has been both as an active bassoonist-performer and as a music historian. Throughout, I have attempted to remain objective, thorough, and accurate. 1Simon McVeigh and Jehoash Hirshberg, The Italian Solo Concerto, 1700-1760: Rhetorical Strategies and Style History (Woodbridge, Suffolk, UK ; Rochester, NY: Boydell Press, 2004), p. 2. 2Score published by Editio Musico Budapest. 3William Marvin, “Introduction to Writing Musical Analytical Essays” in Engaging Music: Essays in Musical Analysis. Edited by Deborah Stein (New York: Oxford University Press, 2005), p. XII. 4Richard J. Wingell, Writing about Music: An Introductory Guide (Upper Saddle River, NJ: Pearson Prentice Hall, 2009), p. 9-13. 5Donald Francis Tovey. “The Classical Concerto” in Essays in Musical Analysis, Vol. 3 Concertos. (London: Oxford University Press, 1966), pp. 3-27. 5 Dedication This thesis is dedicated to my beautiful wife, JJ Joyce Baylosis, and our son, Asher James Payne. 6 Acknowledgments This thesis would not have been possible without the constant support of my family and the gracious and patient guidance of Dr. Mathew Morris and Dr. Richard Wetzel. To them I am very grateful. 7 Table of Contents Page Abstract ............................................................................................................................... 3 Dedication ........................................................................................................................... 5 Acknowledgments............................................................................................................... 6 List of Figures ..................................................................................................................... 9 Chapter I-Bassoon Construction before 1800 ................................................................... 10 Design ........................................................................................................................... 10 Construction Materials and Measurements ................................................................... 19 Tuning ........................................................................................................................... 24 Chapter II-The Concerto in Italy from San Marco to Venice ........................................... 28 Origins .......................................................................................................................... 28 Torelli ............................................................................................................................ 28 Corelli ........................................................................................................................... 30 Others ............................................................................................................................ 32 Vivaldi’s Ritornello Form ............................................................................................. 33 Chapter III-Vivaldi’s Concerto for Bassoon and Orchestra in B Flat RV 503 .................. 49 Vivaldi’s Bassoon ......................................................................................................... 49 1st Movement ............................................................................................................... 52 2nd Movement .............................................................................................................. 57 3rd Movement ............................................................................................................... 59 Chapter IV-Johann Christian Bach’s Concerto for Bassoon and Orchestra in B Flat ....... 66 A Short Biography ........................................................................................................ 66 Social Change and the Public Concert .......................................................................... 69 The Style Galant ........................................................................................................... 73 1st Movement ............................................................................................................... 80 2nd Movement .............................................................................................................. 84 3rd Movement ............................................................................................................... 86 Chapter V-Wolfgang Amadeus Mozart’s Concerto for Bassoon and Orchestra KV 191 . 91 Christian Bach: Friend and Mentor .............................................................................. 91 1st Movement ............................................................................................................... 93 2nd Movement .............................................................................................................. 99 3rd Movement ............................................................................................................. 104 Conclusion ....................................................................................................................... 111 8 Bibliography ....................................................................................................................117 9 List of Figures Page Figure I-1 Mersene’s diagram for bassoon measurements .............................................. 18 Figure I-2 Segerman’s Diagram for Cornett Pitch Standards ......................................... 25 Figure II-1 A typical example of keys visited in Vivaldian ritornello form ...................... 35 10 Chapter I-Bassoon Construction before 1800 Design Sibyl Marcuse notes that around 1636, the one-piece, two-keyed curtal, a double reed instrument like the modern bassoon only in one single large part, was made into an instrument comprised of separate parts, or joints and that a third key (for Bb) was added to the existing two (for D and F).6 A century later, Matheson stated that the range was C below the bass clef to F or G above it, about 3 octaves and a fourth or fifth.7 Marcuse says by 1730, a fourth key was added.8 John Walter Hill shows a three-keyed bassoon dating from around 1650.9 Schwarz confirms Marcuse's account that by the mid eighteenth century, the bassoon had four keys,
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