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THE F MAJOR BASSOON CONCERTO (RTT SCHACHT 30) OF THEODOR VON SCHACHT (1748-1823)

D.\LA.. DOCUMENT

Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University

Douglas E. Spanioly B.M, M.M.

*****

The Ohio State University 1998

D.M.A. Committee: Approved by

C.R. Weait, Adviser C.M. Atkinson Adviser R.H. Sorton School of Music UMI Number: 9833936

This microform edition is protected against unauthorized copying under Title 17, United States Code.

UMI 300 North Zeeb Road Ann Arbor, MI 48103 Copyright by Douglas E. Spaniol 1998 ACKNOWLEDGMENTS

I express sincere appreciation to Professor Christopher Weait for his expertise, encouragement, and support I also extend my gratitude to the members of my document committee. Professors Charles Atkinson and Robert Sorton. I would like to thank E. Sanford Berry for his guidance and mentorship, and William Waterhouse for instilling in me an interest in the historical repertoire of the bassoon, and for his expert assistance with this project. To my wife, Anne, I extend my appreciation for her understanding and patience, as well as her unparalleled proof-reading prowess. I would also like to thank my parents for their support and encouragement over the years. Special thanks are due to Hugo Angerer, curator of the Filrst Thurn und Taxis Zentralarchiv-Hofbihliothek in Regensburg, for making available to me microfilms of this library^s valuable holdings.

11 VITA

July 15,1968 Bom - Des Plaines, Illinois

1990 B.M., University of Illinois at Urbana-Champaign

1992 M.M., University of Illinois at Urbana-Champaign

1993 Postgraduate Diploma, Royal Northern College of Music, Manchester, England

1993 - 95 Graduate Teaching Associate, School of Music, The Ohio State University

1995 - 96 Temporary Assistant Professor, Valdosta State University, Valdosta, Georgia

1996 - 97 Assistant Professor, Valdosta State University, Valdosta, Georgia

1997 - present Assistant Professor, Butler University, Indianapolis, Indiana

FIELDS OF STUDY

Major Field: Music

111 UST OF TABLES

TABLE PAGE 1. Musical Budget 1791-1802 18

IV LIST OF PLATES

PLATE PAGE 1. Titie page to Rtt Schacht 31/1 36

2- First page of autograph Rtt Schacht 30 49 TABLE OF CONTENTS

ACKNOWLEDGEMENTS ii

VITA iii

LIST OF TABLES iv

LIST OF PLATES v

CHAPTERS

I. THEODOR VON SCHACHT AND HIS MUSIC 1 Biographical Information 1 Mustek Output 6

n. THE HISTORY AND MUSIC OF THURN UND TAXIS TO 180611 History 11 Music at Thum und Taxis in Regensburg 13 Sources 13 Musical Personnel 14 Bassoonists 19 Musical Activities 21 Contemporaneous Accounts 24

m. BASSOON MUSIC OF THEODOR VON SCHACHT 27 Chamber music with bassooniHarmoniemusik 17 Concertos and Concertantes 31 Works with Voice 34 The Three Bassoon Concertos 34 Concerto in Bb (Rtt Schacht 31/1) 34 Concerto in Bb for Two Bassoons (Rtt Schacht 31/11) 38 Concerto in F (Rtt Schacht 30) 47

IV. ANALYSIS OF CONCERTO DI FAGOTTO (RTT SCHACHT 30) 50 Movement I (Allegro) 50 Movement II (Romanze - andantino) 69 Movement in (Variazioni - allegretto) 81 vi V V. CONSIDERATIONS FOR AN HISTORICALLY INFORMED PERFORMANCE 88 The Orchestra at Thum und Taxis 91 Pitch 92 Soloists 93 Bassoon 96 Notated Ornamentation 97 Improvisatory/Additional Embellishment 99 Cadenza and Eingànge 100 Articulation and Phrasing 101 Vibrato 102 Dynamics 103 Tempo 103 Rhythm 106

VI. EDITORIAL PROCEDURE 109 Orchestral Score 109 Solo Bassoon Part, Urtext Edition 113 Solo Bassoon Part, Practical Edition 114

Vn. CONCLUSIONS 115

APPENDICES

A. Orchestral Score 119

B. Solo Bassoon Part, Critical Edition 172

C. Solo Bassoon Part, Practical Edition 193

D. Critical Commentary 214

E. List of Chamber and Solo works composed by 225 Theodor von Schacht involving bassoon

LIST OF REFERENCES 228

V ll CHAPTER I THEODOR VON SCHACHT AND HIS MUSIC

Biographical Information^ Theodor von Schacht was bom in Strasbourg in 1748. His father was an official of the Regensburg court on temporary assignment in Strasbourg at the time.* From 1756 -1766 (ages ca. 8 -18) Theodor worked as a page at the Thum und Taxis court in Regensburg. During this time he studied keyboard and music theory with Johann Jacob Kuffner" (1727-1786) and Joseph RiepeP (1709-1782), both court musicians. In 1766 Schacht moved to Stuttgart where his father began as steward of the household (Kammerherr) to the Duke of

' This biographical information is based largely on the Schacht entries in The New Grove Dictionary of Music and Musicians (Grove)(1980') and Die Musik in Geschicte und Gegenwart (MGGÏÏ1958). (These two articles are both written by August Schamagl. Hence, they are exceedingly similar except that MGG is slightly longer.) Specific citations to other sources have been made where additional information is added.

* Jan LaRue, "A New Figure in the Haydn Masquerade", Music and Letters. 40,1959, p. 134.

* * This is not Joseph Küffner (1769-1856) known to bassoonists today as the author of 24 Instructional Duets (Vienna. Universal Edition 18120).

' Riepel was a highly regarded composer, theorist, and teacher. He is best known today as the author of Anfan^s^ilnde zur musikalischen Setzkunst. Regensburg, 1752-1768. 1 2 Kail Eugen Württemberg/ Here Schacht studied music with court composer Niccollb Jommelli (1714-1774) who was "important among those (composers) who initiated the mid-lSth century modifications to singer-dominated Italian opera"/ According to Hill, it was Jommelli who led Schacht to a career in m usic/ To this Traster adds, "Under Jommelli's tutelage (Schacht) developed a penchant for Italian opera and gained experience in opera production, which soon proved to be important to his career"/ There is some disagreement as to how long Schacht remained in Stuttgart Grove says. "... from 1766 to 1771 he was a pupil of Jommelli at Stuttgart"’ . The MGG article has slightly different information, indicating that he spent this time in Stuttgart and Wetzler. This is supported by the fact that there is a set of compositions of Schacht dated "Wetzler 1769,1770".' 10 There is also a work housed in the Bischofliche Zentralbibliothek in

’Keams, Andrew: The eighteenth century orchestral serenade in South Germany. PhD thesis: University of Illinois at Urbana-Champaign, 1993, p. 7.

* McClymonds, Marita Petzoldt. "Jomelli" in Grove, p. 689.

' Hill, James Walter. The D Major clarinet concerto by Theodor von Schacht (178-1823): A lecture recital, together with three additional recitals of selected works by Brahms. Richmond. Rossini. Crussell. Reger, and others. DMA thesis: North Texas State University, 1986, p. 9.

* * Traster, Jeffrey Lynn. Divertimenti and Parthien from the Thum und Taxis court at Regensburg 1780-1823: A source of repertoire for wind ensemble. A.Mus.D.: University of Texas at Austin, 1989, p. 30.

•Schamagl, Grove, p. 583.

" Schamagl, MGG. p. 1525. 3 Regensburg listed as being composed in Wetzler around 1770.“ However, according to Keams "...in 1776 he went to Stuttgart— From 1776 he held a series of nonmusical appointments at minor courts, although he continued to compose."^ LaRue mentions just one such appointment, saying that Schacht held a position in Wetzlar under Prince von Fürstenberg for a short time." All sources agree that in 1771 Schacht returned to Regensburg, assuming the position of Hofkavalier at Thum und Taxis. In 1773, newly ascended and "musically enthusiastic"" Prince Carl Anselm appointed Schacht Musikintendant. In this position Schacht was responsible for musical direction as well as administration of the music department. According to Angerer, his real dedication lay with the musical duties; he found the administrative tasks burdensome. However, Schacht apparently did an excellent job as an administrator. He hired qualified players and created an efficient ensemble; he acquired music from all over Europe and

" Fàrber, Sigfrid. "Der fûrstlich Thum und Taxissche Hofkomponist Theodor von Schacht und seine Opemwerke," in Studien zur Musikgeschichte der Stadt Regensburg I. Regensburg Beitrage zur Musicwissenschaft, Bd. 6, ed. Hermann Beck. Regensburg: Gustave Bosse Verlag, 1979, p. 111. The work in question is Fârber #127, Ouverture in F fur Harmoniemusik.

'* Keams, Hom Concertos, p. 7. One can perhaps regard Keams' biographical account as less reliable than Grove or MGG because Keams states that "(Schachfs) early musical training remains unknown", whereas the other two sources provide information on this early training.

'* LaRue, p. 134.

Schamagl, MGG. p. 1525 {“musikbegeistertef'). saw that the manuscripts were well kept in a music library." When Schacht began as Musikintendant, the theater favored French opéra comique. One of his first major duties was to establish and lead an Italian Opera, which opened in 1774. (This is where his experience with Jommelli proved particularly fruitful.) Under Schachfs leadership, the Italian opera at Thum und Taxis flourished from 1774-1778 at which time it was closed, replaced by a German theater producing ballets, plays, and Singspiel. This change can be attributed at least in part to political pressures from members of the R e ic h s ta g After the closing of the Italian Opera, Schacht dedicated himself more to the service of the court. In December of 1779 he applied for and received the post of Reisemarschall. The Italian Opera was resurrected in 1784 with Schacht working as leader and Kappellmeister. The opera closed again in 1786, this time due to financial as well as political reasons'' . From 1786-1805 Schacht was the administrator and musical director of the court orchestra. He was made a member of the Prince's Private Council in 1790. In the fall of that year, Schacht went to Frankfurt to hear a Te Deum of his which was performed as part of the festivities surrounding the coronation of Leopold U.“ On October 14,1790, he attended a concert given by

'* Angerer, Hugo & Emmerig, Thomas & Holzer, Robert. "Introduction" from The Symphony 1720-1840. Series C, Volume VU, ed. by Barry S. Brook. New York: Garland Publishing, Inc, 1984, p. xv.

'• Angerer, et al, p. xiv. Traster (pp. 31-33) attributes this closing to "...unrest among certain of the singers (which) perpetrated their dismissal..." This (mis)attribution is probably the result of a mistranslation.

" Angerer, Introduction to The Symphony, p. xiv.

'* Fàrber, p. 24, paraphrased in Keams, Hom Concertos, p. 8. 5 Mozart, which featured Mozart playing two of his own piano concertos.*’ In 1795, Schacht took on the duties of administering the court livery, which, according to Traster, occurred due to a worsening of the family's finances.™ As a pension for his career of service to the court he was made in 1796 life beneficiary of the postal revenues at Wetzlar; this LaRue calls "a sizable plum".“ Prince Carl Anselm died in 1805; several days later Schacht resigned. Carl Anselm was succeeded by his son Karl Alexander (1770-1827), and Hemi de Croes replaced Schacht At this time, Schacht left Regensburg for Vienna via Salzburg. According to Thorpe, the pension (of 1796) "is clearly what made the extended trip to Vienna a financial possibility."™ His move to Vienna was met with success, mostly in establishing a reputation as a composer of sacred music In Vienna Schacht "enjoyed the protection of Archduke Rudolf"™ In 1809, Napoleon was impressed by a Mass of Schachfs heard during a church service. This led to a commission from Napoleon to compose six more masses 24

"Keams, Hom Concertos, p. 8.

“ Traster, p. 33.

*’ LaRue, p. 135.

“ Thorpe, Allan Ross. Three works for bassoon (ca. 1780-1815) by the composers Brandi. Schneider and Schacht. including histories, scores and commentaries on editing. DMA Thesis: University of British Columbia, 1994. (Canadian theses on microfiche: 954019), p. 81.

“ Schamagl, Grove, p. 583.

“ Keams, Horn Concertos, p. 8. Keams calls this commission "his greatest success there (in Vienna)". 6 In 1812” Schacht returned to Germany where he lived in the castle of Scheer in Württemberg.” In 1819 he returned to Regensburg where he spent his last years, passing away in 1823.

Musical Output There are two important lists of Schacht's works, Farber's” which numbers 212, and the thematic catalog of manuscripts at the Thurn und Taxis Hofbibliothek of Gertraut Haberkamp.” Most works mentioned here will be denoted using the Rtt” call number from Haberkamp. When this is not available, the Fârber number wUl be used. Although his music is not well known today, Schachfs compositional output is rather large and has been described in largely positive terms. A complete list of Schachfs oeuvre contains approximately 200 works, although some of these are arrangements or reworkings of his or other's music. Of

** ** Most sources say 1812. MGG says "late 1812"; LaRue (and hence Keams) says 1813.

” Keams alone mentions Schacht rejoining his wife ("whom he had left behind") in Württemberg. He also states that the couple moved to Regensburg. Keams. Hom Concertos, p. 8-9.

” Fàrber, Sigfrid. "Der fûrstlich Thum und Taxissche Hofkomponist Theodor von Schacht und seine Opemwerke," in Studien zur Musikgeschichte der Stadt Regensburg 1. Regensburg Beitrage zur Musicwissenschaft, Bd. 6, ed. Hermann Beck. Regensburg: Gustave Bosse Verlag, 1979.

“ Haberkamp, Gertraut. Die Musikhandschriften der Fürst Thum und Taxis Hofbibliothek Regensburg: Thematischer Katalog. München: G. Henle Verlag, 1981.

” "Rtf' is the siglum used to denote the Fürst Thurn und Taxis Hofbibliothek. Haberkamp designates each piece in the library's collection with "Rtf' followed by the composer's name and an assigned number. these ca. 200 works, 155 are housed in the Fürst Thum und Taxis Zentralarchiv-Hofbibliothek in Regensburg. This includes 25 symphonies, 37 concertos, 22 sacred works, and 5 operas.^ In addition to these, the list of works from the Grove article shows 5 vocal works, 8 symphonies, and 14 concertos which are housed elsewhere. Fârber provides a more or less complete list of works, as well as this description of Schachfs abilities as a composer, "He appears as a good talent of his time who...made music in the gallant and sensitive art, in light homophonie style throughout.' W 3l

Other sources seem to concur with Farbefs account. In the Grove article, Arthur Schamagl writes,

"Schachfs output includes about 200 works, the strongest of which are the theatre pieces in which he cultivated the Italian style of opera. Schachfs church music displays the same theatrical energy, with rich coloratura, homophonie choral movements and a sparing use of fugal sections. His instrumental music was notable less for contrapuntal interest than for its wealth of attractive melodies and harmonies."®

In describing one of Schachfs symphonies, Hugo Angerer points out the similarity of Schachfs music to that of his teacher Jommelli, particularly Jomelli's opera overtures. Specific examples of Jomellian technique are pointed out, including a long crescendo achieved by the addition of more and more instruments, and four-measure lyrical antecedent phrases answered by

" Angerer, Hugo, Liner notes to Bayern's Schlosser und Residenzen: Thum und Taxis. BASF KEF 21191,1973. (Dr. Angerer is now librarian at the Thurn und Taxis Hofbibliothek.)

” Fârber as quoted by Traster, p. 34.

“ Schamagl, p. 583. 8 a more forceful consequent.® In describing a notorious symphony by Schacht (previously attributed to Haydn), LaRue makes many positive remarks, such as "...(Schacht) shows finesse in achieving rhythmic drive and continuity. The splicing of several joints reveals genuine subtlety..." and "In orchestration Schacht is clean and effective, relying to an exceptional degree on winds, especially clarinets, for both extended thematic passages and rhythmic counterplay."® However, these positives are tempered by an equal number of negatives, mostly disparaging the themes and material, calling them "unexceptional" and containing a "...lack of substance and profile".® Although his music is indeed little known today, Schacht has been garnering more attention recently. Since 1985 there have been four doctoral dissertations (including this one) concerned specifically with a work by Schacht, including an edition of the work in question.® In addition, the clarinetist Dieter Klocker has recorded four or five different works (all of them concertos for one, two, or three clarinets and orchestra) by Schacht on

“ Angerer, et al, p. xxiii.

® LaRue, p. 137.

” LaRue, p. 139.

” The other three are dissertations by Hill, Traster, and Thorpe, all cited earlier. 9 three separate recordings.^ The series The Symphony 1720-1840 dedicates a volume to the Thum und Taxis court which contains two symphonies by Schacht, one in D dating 6om ca. 1770 (Rtt Schacht 3) and one in Bb from 1792 (Rtt Schacht 17).“ Additionally, six more works of Schacht have been published recently.® As was mentioned previously, one of Schachfs symphonies had previously been falsely attributed to Haydn. What was once known as Haydn's Symphony #84 is actually the work of Schacht. The confusion arises hom the library at Thum und Taxis where there is a signed autograph score ("Schacht Anno 1790"), and two sets of parts in the same copyist's hand. One of these sets is marked "Schacht", the other is marked "Haydn No. 84".* However, this is not the Symphony No. 84 of the "Paris Symphonies"; it can

" Orfeo C 290 931 A (1993) contains: Concerto in D (Rtt Schacht 40); Concerto in B-flat (Rtt Schacht 37); Concertante in B-flat for two clarinets (Rtt Schacht 48); and Concertante in B-flat for three clarinets (Rtt Schacht 46). BASF KBF 21191 (1973) contains a different recording of Concerto in B-flat (Rtt Schacht 37). Acanta 40 23 145 (1972) also contains a Concerto in B-flat; this is likely the same recording of Rtt Schacht 37 found on the BASF record.

*• Brook, Barry, ed. The Symphony 1720-1840. Series C, Vol. VII. New York: Garland Publishing, 1984. The Schacht symphonies are presented here in facsimile reproduction of the autograph score.

"The six works are Klarinettenkonzert A-dur (Lottstetten: Kunzelman, 1995^: Ouartetto C-Dur (hm. vln, via, vc) (Unna: Karthause-Verlag, 1993); Fuga sopra 1 do re mi fa sol la (2vln. via, vc) (Regensburg: Bosse); Partia (2eh. 2vla) (Regensburg: Molinari, 199?); String Quartet fl3b) (Regensburg: Molinari, 199?); and Drei Aufaüge (2hm. 4 tr, tbn, timp) (Cologne: W.C. Hass, 1988,1997). The original instrumentation of this last work calls for bassoon instead of trombone (Haberkamp, p. 268).

" See Jan LaRue, "A New Figure in the Haydn Masquerade", Music and Letters. 40,1959, pp. 132-139. 10 be identified as Hob I: Esll." Schachfs bassoon music will be discussed in detail in Chapter DL

Thorpe, p. 81, note 39. CHAPTER n THE HISTORY AND MUSIC OF THURN UND TAXIS TO 1806

History* Originally of Italian descent and known as T'assis" ("Taxis" in Germanie the Thum und Taxis family will be forever associated with the establishment of postal service in the Holy Roman empire. In 1500, Franz von Taxis secured from Maximilian I the right to provide fee-based postal service throughout the Empire, and in 1512 the family was granted a hereditary title of nobility.' Since the beginning of the sixteenth century, the house was settled in Brussels. The association of the names "Thum" and "Taxis" can be traced back to a 1650 decree of Emperor Ferdinand DI declaring that the relationship with the Milanese family "Torriani" ("Thum") be recognized. Despite this recognition, family members are usually referred to as simply Taxis". Over the next 150 years, the family achieved a rapid social and financial

' This information is based largely on the "Thum und Taxis" article in MGG. Detailed histories (in English) are also found in Angerer, et al, and in Traster. For complete information about the postal service of Thum und Taxis see Smith, Alfred, The Development of Rates of Postage. New York MacMiUan, 1918.

* Traster, p. 16.

Traster, pp. 16-17. 11 12 climb and maintained this elevated status until the decline of the Empire around the turn of the nineteenth century. This climb included the granting of the hereditary position of Postmaster General iGeneralpostmeisterschaft) in 1615, and the hereditary titles "Count" {Grafenstand), first given to Lamoral von Taxis in 1624, and "Imperial Prince" (ReichsfUrstenstand), first granted to Eugene Alexander in 1695.^ In 1702 the house was moved from Brussels to Frankfurt-am-Main. Prince Alexander Ferdinand was appointed to the office of Prinzipalkommissar, or the Emperor's representative in the Reichstag (Imperial Diet), for a term of 1742-1745. This appointment was renewed and made hereditary in 1748 and then held by the family until the dissolution of the Diet in 1806. This new position necessitated a move to Regensburg, the seat of the Imperial Diet, which the family undertook in 1748. The duties of this new office and location made great demands on the family, especially in the areas of ceremony and entertainment. Fortunately the family had the financial means to meet these demands. In the mid-eighteenth century, the family's annual income was estimated to be four million hvres, equivalent to five million 1985 U.S. dollars.' The postal service under their control had grown to employ "some twenty thousand men and a greater number of horses*". Hence, they were able to support the musical (and other) activities demanded by their position. Fortune began to change for the Thum und Taxis family beginning in the mid 1780's. Due to the revolutions occurring in Europe at this time, the

^ See also Angerer, Hugo, notes to BASF KBF 21191 (1973).

* * Traster, p. 18 (citing Smith, p. 351).

* Smith, Alfred, Postage, p. 350, quoted in Traster, p. 17. 13 family lost control of postal service in some territories. This of course led to a loss of revenue. This economic decline continued until Napoleon Bonaparte's conquest led to the dissolution of the Holy Roman Empire in 1806. At this point the office of Prinzipalkommissar and the privileges which came with it were abolished.

Music at Thum und Taxis in Regensburg Sources A good bit of information has come down to us concerning the musical activities at Thum und Taxis in Regensburg. Much of this information comes from original documents stored in the archives (Fürstliche Zentralarchiv) at the court' Dominicus Mettenleiter* and Fàrber include salary and personnel lists that no longer survive in the archive/' Johann Forkel“ also includes a personnel inventory. Information from these primary sources is found in several modem sources as well." There are also some contemporaneous personal accounts of music making at Thum und Taxis, but some of these must be taken as opinion of

' Schamagl, MGG. Volume 13, p. 382.

• Mettenleiter, Dominicus. Musikgeschichte der Stadt Regensburg. Regensburg, 1866.

• Keams, Hom Concertos, p. 3, footnote #6.

" Forkel, Johann Nikolaus. Musikalischer Almanach fur Deutschland auf das Tahr 1783. Leipzig, 1783; reprint: Hildesheim: Georg Olms Verlag, 1974.

" These include works mentioned previously by Angerer, et al, Traster, and Keams as well as a second work 1^ Keams, The Eighteenth-Century Orchestral Serenade in South Germany. PhD thesis: University of Illinois at Urbana-Champaign, 1993. 14 questionable validity. These reports will be discussed later.

Musical Personnel Musical activity at the court experienced a tremendous burgeoning between 1748 and the mid 1780's, paralleling the family's rise in social and financial status. The Thum und Taxis family was well known for their love and interest of music, and as such, were strong supporters and patrons of the art There are records from the time when the court was in Frankfurt which show that Henri Jacques de Croes“ (1705-1786) was hired as director of chamber music in 1730, a position which he vacated in 1742. An index of musicians from 1739, during the reign of Prince Anselm Franz (1681-1739), gives the names of "five musicians and one singer" and mentions four trumpeters and one tympanist whose names are not given." In 1748, Prince Alexander Ferdinand moved the court to Regensburg. Keams states that Alexander Ferdinand took this opportunity to enlarge the Hofkapelle. It is not known how many musicians he brought with him from Frankfurt initially, but an "Etat de la musique " of 1755 shows that the Kapelle had grown to fourteen musicians. Chief among these was Joseph Riepel, who served as Kapellmeister until his death in 1782.*^

'* His father, Henri de Croes served as Kapellmeister to the court of Thum und Taxis when the court was still in Brussels. (Robert Eitner, Biographisch Bibliographisch Ouellen-Lexicon der Musiker und Musikgelehrten (Leipzig: Breitkopf und Hartel, 1901), p. 112; quoted in Traster, p. 100.)

'* Angerer, et al. Introduction to The Symphony, p. xi.

Keams, Hom Concertos, p. 2-3. In a footnote on p.3 Keams says, "This list, with minor variations, is reproduced in (Mettenleiter, p. 270, and Fàrber, p. 19)". 15 By 1766 the number of musicians employed had doubled to 28. Three musicians who would become important to the Hofkapelle were hired in that year. These are: 1) violinist Joseph Touchemin, French-bom student of Tartini who became Kapellmeister upon the death of Riepel in 1782; 2) Touchemin's son, also a violinist, who was a concert violinist before retiring at an early age due to hearing loss; and 3) Franz Pokomy who led the second violin section, but is remembered today as a composer of over 160 symphonies and many concertos.” A record from 1769 shows that the number of instrumentalists had grown to 38. This record also shows a breakdown by instrument: three flutes, three oboes, two clarinets, three bassoons, six horns, sixteen violins, and five cellos.” The above information provides a somewhat accurate picture of the size and make-up of the Hofkapelle when Carl Anselm began his reign in 1773 upon the death of Alexander Ferdinand. A "connoisseur of Italian music and an accomplished keyboard player"”, Carl Anselm quickly engaged Schacht as Musikintendant, and charged him with the task of building and improving the Kapelle. Schacht hired several musicians of virtuoso caliber, especially wind players, from all over Europe. Chief among these were the Venetian flutist Florante Augustinelli, and the Milanese oboist Giovanni Palestrini. According to Kearns, these two men, along with clarinetist Joseph

'® Keams, Serenade, pp. 160-161.

'* Mettenleiter, p. 270, paraphrased in Traster, p. 21. I surmise that the 16 violins includes violas, and that the 5 cellos includes basses. The six horns may include trumpets as well.

Angerer, et al. Introduction to The Symphony, p. xüi. 16 Schierl, bassoonist Joseph Schmidtner, and homists Joseph Anton Rudolf and Joseph Fritsch, formed "the nucleus of a highly proficient wind section"'* Other notable musicians hired under Schacht include the violinist and composer Henri-Joseph de Croes (son of Frankfurt music director Henri- Jacques de Croes), and three musicians from Bohemia: violinist Wilhelm Kafka, oboist Franz Hanisch, and bassoonist Vdclav Knezek (Wenceslaus Kniescheck).** In his Musikalischer Almanach. Forkel gives an orchestra list from 1782 of 36 instrumentalists: six first violins, six second violins, two violas, two cellos, two contrabasses, two oboes, two flutes, two clarinets, four horns, two bassoons, four trumpets, one timpani, and one keyboardist. This list also includes three singers for a total of 39 musicians.^ It is interesting that this number seems to show a decline from the 1769 list of 38 instrumentalists despite the fact that the music at the court was blossoming during this time. There are a number of possible explanations for this paradox, the first and most likely being inaccuracies or inconsistencies in the method of counting the musicians. The 1782 list certainly seems more likely to be an accurate assessment of the musical resources. The 1769 list may count members twice, as in the case of a woodwind players who play more than one instrument. The 1769 list may include assistants or apprentices (Musik-Accesisten) as well.

'• Keams, Serenades, p. 160-161.

'• Angerer, et al. Introduction to The Symphony, pp. xv-xvi. According to the Grove entry "Kafka", Joseph Kafka (1730-1796) was a violinist bom in Bohemia who came to Regensburg ca. 1748. He had two sons who also played violin at Thum und Taxis, Wilhelm (b. Regensburg 1751; died Regensburg 1806) and Johann Christoph (b. Regensburg 1759; d. Riga after 1803). Johann Christoph was the most well-known of the three, leaving Regensburg c 1777.

” Keams, Serenades, p. 160. 17 (A 1787 list shows 50 musicians, but many of these are indeed Musik- Accesisten. These were often sons of orchestral musicians or others "who were apparently given temporary employment while waiting for a permanent position."^ ) A second possible explanation is that the decline in instrumentalists is compensated for by the hiring of singers, so that the decline from 38 to 36 instrumentalists is seen as a slight growth from 36 to 39 musicians. (It is not clear how many singers, if any, were on salary in 1766.) A third possible explanation is that with the hiring of more capable musicians, fewer numbers are needed to produce the same, or likely better, result In this way, a slight decline in the number of orchestral musicians may mean an increase in the quality of the orchestra. The economic decline of the Thum und Taxis family which began in the mid 1780's naturally had a direct negative impact on the musical activities at the court The final closing of the Italian opera in 1786 can be seen as a turning point, beginning a twenty year period of decline. This decline in musical activity can be demonstrated by looking at the musical budget throughout this period (see Figure 1). The reduction in money spent on musical activities was achieved through letting musicians go (some through retirement), cuts in musicians' pay, and having the musicians take on additional duties.^ (Schacht took on the administration of the court livery in 1795.)

Keams, Horn Concertos, p. 12.

“ Traster, p. 25. 18 Table 1“

Musical Budget 1791-1802

Year Total Music Budget Total Hofkapelle salary 1791 27,528 £L 1797 20,000 fl. 1798 11,000 fl. 7,955 fl. 1799 4750 fl. 1802 3300 fl.

” Data cornes from Angerer "Geschichte" in Haberkamp, p. xii-xx, as reported in Traster, p. 25. 19 This decline continued through Carl Anselm's death and Schacht's departure for Vienna, both of which took place in 1805. The end of the Holy Roman Empire, and hence the end of the office of Prinzipalkommisar, quickly resulted in the dissolution of the Thum und Taxis Hofkapelle in 1806. The remaining musicians "were allowed to keep their instruments and were given a choice of a pension or the compensation of a one-time payment"^. There appears to be some discrepancy in the exact figures for the Hofkapelle in its last years. According to Angerer and Traster, the Hofkapelle numbered 24 in 1800 and 23 in 1805;” Keams states that there were 26 musicians active at the time of the Hofkapelle's disbanding in 1806.”

Bassoonists We do know three bassoonists from the Hofkapelle by name, two of which have been mentioned earlier. The first of these, Joseph Schmidtner, was bom in Dietfurt, Bavaria in 1748. Although the exact year that he came to Thum und Taxis is unknown, one can deduce that it was early in his life, since Hodges makes no mention of Schmidtner holding any positions previous to this appointment. Schmidtner's name may be indicated on a part dating from 1772 (see below). Schmidtner served as first bassoonist presumably until the disbanding of the Hofkapelle in 1806; he died in

“ Mettenleiter, p. 272. Paraphrased in Keams, Horn Concertos, p. 13.

“ Angerer, et al. Introduction to The Symphony, p. xiv, and Traster, p. 25.

“ Keams, Horn Concertos, p. 12-13. Angerer, et al, (p. xiv) say that the 1805 list is the last extant account. 20 Regensburg in 1808.^ Another bassoonist at Thum und Taxis was Franz Ignaz Schmidt (Schmied) (1766 -1842), who was bom into a musical family in Dresden. The name "Schmidt" appears on one of two surviving parts from a concertante (Jerzett, Schacht 28) which Schacht composed in October 1772. However, Schmidt was six years old in 1772. Keams assumes that the name "Schmidt" is really an indication for "Schmidtner".® Perhaps a more likely explanation is that the name "Schmidt" was added not in 1772, but later, after Schmidt arrived in Regensburg.® Schmidt does appear on Forkel's 1783 list of musicians, but he joined the Kapelle in Dresden in 1785 where he became the leading bassoonist and played several concertos.® The third bassoonist is Wenceslaus Kniescheck (1743-1806). Bom in Prague, he was employed in the Palm Court in Poland before he became second bassoonist in Regensburg "sometime around 1783" (possibly in 1785 to replace Schmidt). He served in Regensburg until his death in 1806. In addition to playing bassoon, Kniescheck also composed. Several pieces, including masses, vespers, cantatas, and piano pieces were, published in Regensburg."

” Hodges, Woodrow Joe. A Biographical Dictionary of Bassoonists Bom before 1825. PhD dissertation: University of Iowa, 1980, p. 585.

“ Keams, Hom Concertos, p. 11. It is possible that Keams was unaware of the later presence of a bassoonist named Schmidt.

“ There is a second set of parts for this work dated ca. 1780. (Haberkamp, p. 273).

" Hodges, p. 584.

" Hodges, pp. 369-70. 21 As an interesting side-note, a musician Johann Nepomuk Kunz (1768- 1795) played bassoon on a concert with the Kapelle in Regensburg in hopes of becoming a permanent member. However, he was not well trained as a bassoonist and was not offered a position. He later became a successful singer in Munich.”

Musical Activities” In 1760 Ferdinand Alexander established a court theater which served initially as the venue for the French theater works, mostly opéra comique and ballet” In later years this same theater would house the Italian and German opera mentioned previously, as well as other theatrical presentations. One of the main functions of the Kapelle was to perform at the theater, providing music for whatever was the fashion of the time. The theater's most active years were 1784-1786 when Schacht was leading primarily Italian opera there. In this period the theater produced 62 tragedies, 295 comedies and dramas, ten musical comedies, and 24 ballets.” The Hofkapelle also performed weekly concerts on Thursday evenings (Keams says afternoon) which featured symphonies as well as instrumental and vocal soloists. It is likely that the bassoon concertos were composed for

” Hodges, pp. 401-402.

** ** The primary sources of information for this section are Angerer "Geschichte" as cited by both Traster and Keams, and Angerer, et al, "Introduction" to The Symphony. Additional information has been taken from other sources and cited here.

^ Angerer, Introduction to The Symphony, p. xiii. Traster gives the date as 1750, p. 20.

” Mettenleiter paraphrased in Traster, pp. 20-21. 22 and performed on these concerts. Additionally, the musicians performed at church services around the city. Other regular duties included dinner music which would typically feature a Harmoniemusik ensemble. Many such works were composed at Thum und Taxis and survive today in the library. Presumably, these were composed for dinners and other social occasions. The musicians also performed for special occasions, both major and minor. One major occasion was the wedding of Princess Sophia of Thum und Taxis to Prince Heironymus Radzville. The wedding ceremony itself took place on December 31,1775, but the entire celebration lasted until January 3,1776. During this four-day extravaganza the Hofkapelle supplied music for the wedding ceremony, a New Year's day feast, a concert, a play, an Italian opera, a masked ball, and a few other events.^ Perhaps a more typical example of music for a special occasion is shown by the inscription on two serenades composed by Schacht - one dated 4 September 1775 and marked for "la festa di St. Carlo" (Prince Carl Anselm's name day) and the other marked "Musica fatta per la festa di Teresa 1801" (the name day of Therese Mathilde, the Prince's daughter-in-law).^ Lastly, some members of the Hofkapelle accompanied the prince to his summer residence, Schloss Trugenhofen at Tischigen (Dischigen) near Württemberg. Here outdoor concerts were performed, probably by a H arm onie. There is record of a musical "hayride" as the "...stablemaster's records of 1791 tell of the conveyance of musicians and their instruments

" Fendl, Elizabeth. "Die Feierlichkeiten anlasslich der Vermahlung von Prinzessin Sophia von Thum und Taxis 1775/76." Regensburg: Fürst Thum und Taxis Zentralarchiv-Hofbibliothek, p. 391, paraphrased in Traster, p. 21.

” Keams, Serenades, p. 92. 23 through the English Forest/"* Although seemingly busy, the musicians at Regensburg were fortunate in that they had no non-musical duties, as the musicians at many smaller courts did. Further, no servants employed primarily in a non-musical capacity were used to fill out the ranks of the orchestra, although Accesisten were used.* Keams states that the wind players at Thum und Taxis did not have to play more than one instrument, although he does not say during which years this was the case.^ Although the musical activities at Thum und Taxis were in decline during the end of the eighteenth century, this seemed to be a time of greater activity for the Harmonie. Of the 66 extant works of Harmoniemusik composed by Schacht and Croes in the library at Regensburg, 53 were written after 1786.® This growth in Harmoniemusik is likely the result of the decline of the general musical activities and budget. With less resources available for musicians, perhaps they were forced to use more chamber ensembles and make less use of the full orchestra. Further, with more time available from playing fewer operas, the musicians were likely available to provide dinner and social music more often. When the music department was dissolved in 1806, the music library held approximately 3,000 manuscripts. These included not only pieces composed by musicians in Regensburg, but also works from virtually all of

“ Traster, p. 24, quoting Angerer "Geschichte".

“ Keams, Serenades, p. 161.

Traster, p. 25. 24 the music capitals and courts throughout Europe.

Contemporaneous Accounts Today, when looking for contemporaneous descriptions of musical activities in eighteenth century Europe, historians usually turn first to Charles Burney.*^ Bumey mentions his desire to include Regensburg (Ratisbon) on his travels of 1772, but did not visit Regensburg because the Prince and musicians were at Tischingen at the time. He might have gone to Tischingen to hear the Thum und Taxis Hofkapelle were it not for an "excellent judge of music" who told him that he

"...was never charmed by his (the Prince of Thum und Taxis) concerts, though he had a numerous band; as the music was performed in an inelegant and inexpressive manner, with an almost total neglect of piano and forte , and of light and shade; so that the pieces which they executed, however good in themselves, afforded him but very little pleasure' .//43

This account must be taken with a degree of caution considering that it is anonymous and second-hand. Further, it is important to remember that this account comes from the period when Alexander Ferdinand was prince, before the reign of Carl Anselm and the tenure of Schacht as Musikintendant. If the music making was indeed unsatisfactory in these days, it was put to Schacht to improve matters, which he seemingly did. All three princes who reigned in Regensburg had a reputation as great

" Bumey, Charles ed. by Percy Scholes. An Eighteenth-Century Musical Tour in Central Europe and The Netherlands. Westport: Greenwood Press, 1979.

' Bumey, p. 237. 25 lovers and patrons of music. Carl Anselm was particularly noted for his musical involvement He kept his own organ room and was a keyboard player and amateur composer.^ Leopold Mozart was certainly aware of and impressed with the musical activities at Thum und Taxis under Carl Anselm In a letter to Wolfgang from 1777, he strongly encourages his son to visit Carl Anselm at his summer residence Trugenhofen, apparently in hopes of obtaining a position (or at least a recommendation) from the Prince. In the letter Leopold mentions this three times, underlining the second and third mention.

'Tt is absolutely essential that you have something ready for Prince Taxis... '^our main objective, however, should now be to have something ready for Prince Taxis... "But you must make a point of visiting Prince Taxis on his estates"”

Again fate would intervene, and the meeting between Wolfgang Mozart and Carl Anselm would never occur because the Prince and the Kapelle had already left Trugenhofen to return to Regensburg.” In his Ideen zu einer Àsthetik der Tonkunst. Christian Schubart makes some specific descriptions of music making at Thum und Taxis:

'This brilliant German court has also caused a sensation in recent years through music. All became musical here: the princesses played on the clavichord as angels. Particularly

Angerer "Geschichte" in Haberkamp, p. DC, paraphrased in Keams, Horn Concertos, p. 2.

” Anderson, Letters of Mozart, pp. 319-321 quoted in Traster, p. 28. Prince Taxis is also mentioned in Anderson on p. 308 and p. 345.

” Angerer, et al, p. xiv. 26 Princess Xaviera brought it to mastery. Her temperament is unbelievable, her playing only loses in the delicate passages.'

Of the playing of violinist Joseph Touchemin, Kapellmeister from 1782-1799, Schubart says, "...his taste is wholly French, soft, and cozy. He does play the violin with strength but in a style that cannot please everyone"*

Like most modem day reviews, the accounts by Schubart are largely favorable but not wholly so. Schamagl warns against granting Schubart's reviews too much validity, saying that his "...explanations of the Regensburg court orchestra are muddied in their objectivity through personal experience."*

Schubart, Christian Friedrich Daniel. Ideen zu einer Àsthetik der Tonkunst. Vienna, 1806; ed. Paul Alfred Merbach, Leipzig: Wolkenwanderer Verlag, 1924. Quoted / translated by Keams, Hom Concertos, p. 2. In the text Keams gives 1784 as the date of tlüs statement.

** Schubart, p. 111. Quoted/translated by Keams, Hom Concertos, p. 3.

Schamagl, MGG. "Thum und Taxis", p. 382. Translation mine. "...D. Schubarts (s. Lit.) Ausfuhrungen über die Regensburger Hofmuisk sind in ihrer sachlichen Objektivtat durch personliche Erlebnisse getriibt." CHAPTER m BASSOON MUSIC OF THEODOR VON SCPIACHT

Chamber music with bassoon/Harmoniemusik Schacht composed many chamber music works involving bassoon. In the imperial courts during this time, Harmoniemusik ensembles were very conunon. In its widest sense, Harmoniemusik can be defined simply as music for wind instruments. More typically, it refers specifically to small wind bands (Harmonien), as employed by the European aristocracy from circa 1760-1837, and the music played by these bands. Harmoniemusik was commonly written for pairs of wind instruments. In Vienna the preferred instrumentation was comprised of pairs of oboes, clarinets, horns, and bassoons. This is referred to as the "full Harmonie" or "Viennese octet". Other common instrumentations were sextets omitting either the clarinets or oboes. A string bass (violone) or perhaps contrabassoon is often added to any of these instrumentations. ' Given the prominence and popularity of Harmoniemusik, one would expect that much of Schacht's chamber music with bassoon would be for Harmonien. In fact, of all his chamber music with

' Hellyer, Roger. "Harmoniemusik" in Grove, p. 167. See also Hellyer, Roger, 'Harmoniemuisk': Music for Small Wind Band in the Late Eighteenth Century. Ph.D. dissertation, Oxford University, 1973; and Whitwell, David, The Wind Band and Wind Ensemble of the Qassic Period, vol. 4 of The History and Literature of the Wind Band and Wind Ensemble. 9 vols, Northridge, California: Winds, 1984.

27 28 bassoon, there is only one piece which can not be closely related in instrumentation to the Harmonie. This is the (Drei) Aufzüge in Eb (Rtt Schacht 76). Composed circa 1790, this work is scored for two horns in Eb, four trumpets, bassoon, and timpani. Although Schacht favored composing for chamber ensembles with winds in pairs, his specific instrumentations tend to be quite unusual. Schacht composed no works for conunon Harmonie sextets and only one work for the Viennese octet, Partitta d'Armonia in Bb (Rtt Schacht 73/n). Schacht's unusual instrumental combinations seem to reveal that he favored a broader definition of the term "Harmonic'. In fact he occasionally used the term for pieces that most people would not consider to be Harmoniemusik at all. Two examples of this are the Partitta d'Armonia (Rtt Schacht 51/1, n) scored for solo harp, two violins, two horns, viola, cello, and bass, and the Partitta Armonica (Rtt Schacht 73/1), scored for two clarinets in G, two violas and violone. One work with reference to “Harmonie^' in the title deserves special mention. This is Ouverture in F fur Harmoniemusik. number 127 in Farber's list* Composed around 1770 in Wetzlar, the orchestration is flute, oboe, hom, and bassoon obligato; with two clarinets, two homs, two bassoons, and trumpet* Schacht did compose some other works which, although not employing the common octet or sextet instrumentations, did feature wind instruments in pairs. Two of these are the Partita in G (Rtt Schacht 74/11)

* * This is not included in Haberkamp's list because it is housed not at Thum und Taxis, but at the Bischofliche Zentralbibliothek in Regensburg.

* * Farber, p. 111. 29 scored for pairs of English homs, clarinets, homs, and bassoons, and the Musette in Bb (Rtt Schacht 79/m) for two clarinets, two bassoons, and three homs: one in Eb and two in Bb. Both Farber and Haberkamp list two works scored for one oboe, two clarinets, two homs, and bassoon. Neither one bears a title; they are now referred to as Parthia (Rtt Schacht 79/1, two movements) and 18 Satze (Rtt Schacht 72). Traster makes a convincing case that these two works actually belong together, making a single twenty-movement work.* As music with Turkish influence became popular in the late eighteenth century, it was not uncommon to find Janissary percussion instruments incorporated into wind chamber music. Schacht wrote two such works; the first is entitled Turco (Rtt Schacht 78). Composed circa 1790, it is written for flautino (piccolo), two clarinets in A, two clarinets in D, bassoon, two homs, trumpet, triangle, tschinelli (cymblas) and tamburo (drum). The second is the Partitta in D of 1794 (Rtt Schacht 77), scored for pairs of flutes, oboes, clarinets in A, clarinets in D, bassoons, and homs, along with one trumpet, tamburo Turco (bass drum), tamburo, tamburino (tambourine), triangle, and piatti (cymbals). A conunon feature of Schacht's Harmoniemusik (accepting a slightly broader definition of the term) is the inclusion of a pair of violas into the primarily wind-dominated Harmonie ensemble, and the equivalent treatment of the violas alongside the pairs of winds.® Schacht composed eleven such works, each with the instrumentation of two clarinets, two bassoons, two or four homs, two violas, and violone (string bass); five of

* Traster, pp. 48-58.

* Traster, p. 36. 30 these eleven works also include a pair of darinos or trumpets/ It should be noted that of these eleven, two are unfinished (Rtt Schacht 79/II and Rtt Schacht 84). Several others are - at least in part - arrangements of other works, such as pieces previously composed by Schacht, works of other composers, and folk songs. Of these works with violas, Traster says that David Whitwell "incorrectly conjectured ... that the parts might have actually been for tenor oboes rather than for violas."' However, Traster gives little evidence to discredit Whitwell's position other than to say that both Schacht and Henri- Joseph De Croes used pairs of violas in their Harmonie. One can find support for Traster's position in the instrumentations of other Schacht works. Schacht makes a dear distinction between violas and English homs (tenor oboes). He specifically calls for a pair of English homs in the Partita in G (Rtt Schacht 74/11), and even composed a partita for two English homs and two violas (Rtt Schacht 75). Further, he seemed to favor mixing pairs of winds with pairs of violas not only in the eleven Harmonie works already referred to, but also in works such as the Partitta Armonica (Rtt Schacht 73/1) for two darinets, two violas and violone. Noteworthy is the fact that Schacht did have darinets available to him in Regensburg and favored these as the top voice in his Harmonie works.

* One of these. Divertimento in F. is a work without signature. Although housed at Thum und Taxis (Rtt Ohne Signatur), Haberkamp does not indude it with the other works of Schacht. Farber does include this in his list of Schachf s works (Farber #88).

" Traster, p. 347, note 51. 31 instead of oboes which were commonly used elsewhere.* Of Schacht's Harmoniemusik, Traster writes

"...consisting of multi-movement parthias, dance variations, and settings of popular tunes of the day, (it) is typical of the genre in its simple construction. ...Yet, in it's simplicity, Schacht's Hflrmoniemi/sifchas charm, and competently reflects the genre of social music of the late eighteenth century."’

Concertos and Concertantes” In total, Schacht composed roughly 40 concertos or concertantes, more than any other genre. This emphasis on the concerto was probably due to the pride he held in the virtuoso musicians which he had assembled in Regensburg as Musikintendant (see Chapter H). The concertos were written for a wide variety of solo instruments: cembalo, cembalo four-hands, harp, violin, flute, oboe, clarinet, and bassoon. Schacht seemed to favor writing concertante works for pairs of like wind instruments, having composed pieces for two homs (Rtt Schacht 29), two bassoons (Rtt Schacht 31/11), three works for two oboes (Rtt Schacht 47, 48, 49), and one work for three oboes (Rtt

• Traster, p. 36

• Traster, p. 35.

For purposes of this paper, "concertante" refers to a concerto-type work with more than one soloist. For a detailed explanation of the term see Kidd, Ronald R., "Concertante" in Grove, p. 625. 32 Schacht 46).“ In one of these works for two oboes (Rtt Schacht 48), Schacht indicates that the solo parts may be played on clarinet. “ He wrote twelve concertos for (one) clarinet, the most among any instrument. One of these, the Concerto in D (Rtt Schacht 33, composed in 1781), is likely to be the first concerto ever written for the clarinet in A.“ Of the clarinet concertos, fQocker writes, "...in his clarinet (concertos) Schacht applies bold methods, both harmonically - into early Mendelssohnian emotions - and as regards higher demands on finger technique. In the solo part here, with its large intervallic leaps he even ventures into Weber's territory.* ffU

While not unfounded, this description portrays Schacht's music as more romantic and innovative than other accounts. In many of Schacht's wind concertos, he reuses themes or entire movements from his earlier concertos. Schacht wrote out many cadenzas for his concertos, especially those for multiple soloists. Several of these survive

" LaRue (p. 136) mentions that several other such works were at one time listed in the Regensburg library, some of which are no longer extant These include a double concerto for paired English homs and a concertante for four clarinets. Since neither of these works appear in Farber or Haberkamp, it must be concluded that they are among those now lost.

'* A version for two clarinets had been recorded on Orfeo (C 290 931 A). This recording also includes a version of the three oboe work (Rtt Schacht 46) played by three clarinets. Dieter {docker's liner notes to this recording say that "...Schacht leaves open to choice the question of what instruments fiie soloists should play (oboes or darinets)". Haberkamp (p. 273) makes no mention of such an indication on the manuscript.

"Hill, p. 11.

" Klocker, Dieter, trans. by Lional Slater. Liner notes to Orfeo C290 931 A. 33 and are now important as authentic examples of classical wind cadenzas.” In addition to the concerto for two bassoons mentioned above, Schacht composed two concertos for bassoon. These three works will be discussed further below. Schacht was also fond of composing concertante pieces for diverse groups of instruments. The earliest of these, the Concertante in Eb Major (Rtt Schacht 28), was composed in October, 1772. Several scores and parts of this work survive today. The autograph score, which is unfinished and sketchy, has a title page which reads in part "Terzetto/per il/ Qarinetto B: o Sia Oboe/Fagotto/ Como Eb...". Other scores and sets of parts, in various hands and dated as late as 1780, bear slightly different titles: "Concertante a 3" and "Concertante per il Clarinetto, Fagotto, e Como" as well as "Terzetto". None of these make mention of the oboe as an alternative to the clarinet There are surviving solo parts with the names of the players: Schultz(cl), Schmidt(bsn), Rudolph(hom).“ The next two concertante pieces bear titles based on the number of soloists. These are the 1774 Ouartetto in C Major (Rtt Schacht 26) featuring oboe, flute, English hom, and bassoon, and the Terzetto in Eb Major (Rtt Schacht 27) for oboe, bassoon, and hom, dated circa 1780. The remaining concertante work with bassoon is one which Schacht composed for a birthday festival. It is titled Sinfonia Concertante (Rtt Schacht 13); the dedication at the bottom of the title page reads "...fatta al Natale del

PÊ& /il 2do di Gi«gno./1783." The solo group is comprised of violin, oboe.

'* See Lasocki, David and Betty Bang Mather. The Classical Woodwind Cadenza: A Workbook. New York: McGinnis & Marx, 1978.

'• See Chapter II. 34 hom, and bassoon. This is one of the works which contains a written-out cadenza (two pages) by Schacht

Works with Voice Schacht occasionally included bassoon in vocal music. One example of this is the wedding chorus entitled Stroffe Epitalamiche (Rtt Schacht 115). Composed in 1789, this is a setting of a text beginning “Viva ormai la Princtpessa..." for soprano, tenor, and bass accompanied by a Harmonie ensemble of pairs of English homs, clarinets, homs, and bassoons. One year previous to this work, Schacht composed a bass aria with bassoon obligato in E-flat major, "Alme incaute che torbide ancora" (Rtt Schacht 130). Also worth noting is an Einlage-Aria which Schacht composed for Ottani s opera "L'Amore senza Malizia" (Rtt Schacht 136/11). Although a setting of a brilliantly insightful text, this aria, Tagotto caro. Fagotto hello", is sadly without bassoon accompaniment or obligato.

The Three Bassoon Concertos Schacht composed three concertos for bassoon - one in Bb Major ca. 1770 (Rtt Schacht 31/1), a double concerto for two bassoons ca. 1780 (Rtt Schacht 31/n), and the one that is the primary focus of this paper, the concerto in F Major of 1789 (Rtt Schacht 30). All are in standard classical three movement form.

Concerto in Bb (Rtt Schacht 31/D The only source of the Bb concerto of ca. 1770 (31/1) is the autograph 35 score (20 leaves) housed in the Hofbibliothek in Regensburg;’^ no parts survive. To date, this work has not been edited and remains in its original, virtually unusable form. Centered on the title page is the following: "Concerto/a/Fagotto principale/Due Violini/Due Clarinetti/e/Comi Toni B/ Alto Va./e/Basso/Da T. Da Schack(sic) Anno 1770". To the right of first line is written "No. 2". This has been struck through, seemingly later by a different pen/ hand, but this is difficult to tell with certainty from the microfilm. To the right of the lines "Due Qarinetti/e/Comi Toni B" is a bracket and the inscription "se non obligatti/ almeno quasi obligatti". The first "obligatti" has also been struck through in the manner described above. (See Plate I.)

" I have a microfilm copy of this autograph and have used it as the source of information in this section. 36 Plate h Title page to Rtt Schacht 31/L

\ 5&/Æa7L

. •" •■v‘£ ;- y

r 'IH I m d ■'hTiM nai 37 The first movement is in Bb major, 4/4 time (indicated "C"). No tempo marking is given, but an Allegro is assumed. The second movement is in g minor (relative minor), 4/4 time ("C"), and marked Adagio. Here the homs are marked "Comi G". Both of these movements have a cadenza near the end indicated in the typical manner a fermata over a half-note tonic 6/4 chord followed by a half note trill on the supertonic in the solo part. These cadenzas are followed with a "Dal Segno" closing section taken from the end of the orchestral exposition. The third movement is back in the home key (Bb), and the homs are back in Bb as well This movement is in 3/4 time, but is without tempo indication. (See Figures #1- 3 for the opening themes.)

Figure 1: Schacht 31/1, mov. 1, opening theme."

P ' L j-- T i l r f| U 1 -1 r 1 H - r f r ~ ' i

Figure 2: Schacht 31/1, mov. 2, opening theme.

'• Apparently, Schacht was quite fond of this theme. It is also the main first movement theme of two other works: the Oboe Concerto in C (Rtt Schacht 51) and the Concerto for Two Bassoons in Bb (Rtt Schacht 31/11) which will be discussed further below. (Haberkamp, pp. 275-276.) 38

Figure 3: Schacht 31/1, mov. 3, opening theme.

It is not possible to say for whom this concerto was written. Given the date c. 1770, the most likely candidate is Joseph Schmidtner. It is also quite possible is that this was written for a visiting bassoon soloist

Concerto in Bb for Two Bassoons (Rtt Schacht 31/ID As with the above concerto, the sole primary source for the double concerto is the autograph copy of the score (21 leaves) housed in Regensbiurg.*® From this source, which is perhaps unfairly described as "little more than a sketch or a working copy"“ , Allan Thorpe has constructed a modem edition, published as part of his 1994 DMA dissertation from the University of British Columbia. It was performed with orchestra in a degree recital by Mr. Thorpe with Myriam Blouin, bassoon, on February 14,1994, at the University of British Columbia Recital Hall.“ The autograph has no title page, and in fact, bears no title. At the top of Thorpe's score is written "Concerto B-dur/per due fagotti". One unusual feature of this concerto is the

'• I have microfilms of this autograph as well and have referred to them in this section.

“ Thorpe, p. 83.

*' Thorpe, unnumbered page (from concert programs in front). 39 changing instrumentation. The outer movements call for two solo bassoons, 2 flutes, 2 clarinets in Bb, and strings. In the middle movement the orchestral wind section changes to 2 clarinets in Bb and 2 homs in Eb. As was mentioned previously, the first movement has the same principal theme as the concerto just discussed (Rtt Schacht 31/1). It also shares the same key, meter, and tempo: Bb major, 4/4 time ("C"), and an assumed allegro tempo marking. The second movement is an Andante in 3/4 time and in the subdominant. E-flat (See Figure 4.)

Figure 4: Schacht 31/11, mov. 2, opening theme.

The last movement is a seven-part rondo back in Bb major, marked allegretto. It begins with a very typical rondo theme and style. (See Figure 5.) 40

2 Fagocd

IR lj' K f ,. f r p ? :f = l "

-ë—^------m F-

V(ioü)ni

ill- y ,v -S= ------Ï— -J ------J-#

I VioU *>>» t r : ------

c 0----- Basso

Fja

Vlnl

Vtatt

Via

Figure 5: Schacht 31/11, mov. 3, mm. 1-9, opening rondo theme. 41 This movement contains one very unusual formal feature. The third episode (The TX of A-B-A-C-A-D-A) changes tempo and meter. Marked "Menuetto" it is of course in 3/4 time, still in the tonic key.® The retransition back to the rondo theme includes yet another change of tempo and meter. (See Figure 6.)

(Menuet) Adagio /7N (AUegnao) H

IM a

IM F g l

Fell

V lnl

Vln II

Via

Figure 6: Schacht 31/H, mov. 3, mm. 169-172, end of menuet section/retransition into rondo theme. “ Thorpe (p. 2) says that this music is "derived from the second movement". 42 As with the other bassoon concerto, it is not possible to ascertain with certainty for whom this piece was written. According to Thorpe, the apparent haste with which it was written "suggests that it was written for two bassoonists who visited the court at Thum und Taxis, and that Schacht was given short notice to write something to honour these performers."^ This piece is dated ca. 1780. We know that Franz Schmidt (bom in 1766) came to Regensburg by 1783. The facts that he later had a remarkable career and that he left to join the Kapelle at Dresden in 1785 suggest that he was an outstanding player even in his teens. Therefore, another plausible explanation is that this work was written for the newly-formed virtuoso bassoon section of Schmidtner and Schmidt. In his discussion of his editing of this piece, Thorpe points out one passage which is very interesting harmonically. However, his analysis is clearly inaccurate. The passage in question is at measure 42 in the third movement. In this measure there is a b-flat minor chord directly followed by a D Major triad to which a C-natural is added, thus creating a D dominant 7th chord. Thorpe states that this is a modulation from the key of b-flat minor (the parallel minor of the home key B-flat Major) to the key of D Major (Major in in B-flat Major). In fact, the key here changes to g minor (the relative minor of the home key) not D Major; the D chord is functioning as the dominant in g minor. (See Figure 7.)

' Thorpe, p. 83. 43

Vlnl

Vlnn #

Via

Cb oF IV v l i

Figure 7: Rtt Schacht 31/11, mov. 3, mm. 37-44. 44 Figure 7 (continued).

41 H i¥ $

41 Cl i

Fg[

Fgll

Vlnl

Vln II

Via

i g:V 7 i 7 i

(Thorpe: b ;i D:I) 45 This error in analysis would hardly be worth mentioning were it not for the fact that Thorpe refers to the theoretical writing of Riepel to help explain this nonexistent modulation (from b-flat minor to D major). He quotes Riepel, writing "a tonidzation (W endung) occurs by means of the voice which contains the leading tone of the new key"”, and then says that the D-flat could be interpreted as C-sharp, the leading tone to D. Thorpe gives another possible explanation for this un-modulation (b-flat to D) based on Riepel: the b-flat minor chord (which has the F omitted) could be reinterpreted as a "very incomplete diminished seventh chord"” with the ID- flat again acting as the leading tone to D. Clearly, neither of these references to Riepel apply in this case. Further, these citations represent general theoretical ideas which are not unique to Riepel. Thorpe says "...theorists who regret the lack of a larger body of surviving compositions by Riepel” to help in exploring his theories should perhaps be looking to compositions produced by his students such as Schacht."” While he may be correct, this statement is not supported by the example in question. In figure 7 ,1 have given what I feel is a proper analysis of this passage.

** Thorpe, pp. 84-86, quoting Nola Jane Reed, "The Theories of Joseph Riepel as Expressed in his Anfangsgrûnde zur Musicalischen Setzkunst (1752- 6 8 )" (Ph.D. diss., Eastman School of Music, University of Rochester, 1983), p. 116. The underling of ‘"hy means of" appears in Thorpe; he does not say whether the emphasis is his or not.

“ Thorpe, p. 8 6 .

According to Angerer, et al, "Introduction" to The Symphony, p. xviii, the surviving works of Riepel include "Eighteen symphonies, twelve concertos, three divertimentos, eight masses, three requiems, five cantatas, and many smaller works..."

” Thorpe, pp. 84-86. 46 The choice of the b-flat minor triad (tonic in the parallel minor of the home key) is indeed curious. The b-flat minor triad comes as a result of a two measure harmonic/ melodic sequence. The two-measure pattern is first presented in c minor; then repeated down a step in b-flat minor. The choice of b-flat minor as opposed to B-flat Major keeps the intervallic structure consistent. However, it does lead to the striking direct change from D-flat to D-natural. This, I believe is an example of the "melodic and harmonic invention" commonly found in Schachfs music.” There is one important editing issue which must also be discussed. The first movement ends with a Dal Segno, which leads to a repeat of the last fifteen measures of the orchestral exposition. The last measure before the

D.S. has a half-note tonic 6 /4 chord with a fermata followed by a half rest

(See Figure 8 .) iT\ 2S

Vlnl

Vln II

Via m

Figure 8 : Rtt Schacht 31/H, mov. 1, mm. 223-24 and m. 21. “ Angerer, et al, "Introduction" to The Symphony, p. xxiii. "His symphonies are noted for their wealth of melodic and harmonic invention." 47 If, in the second half of m. 224, there were a half-note supertonic with a triU in one or both of the solo bassoon parts, this would be a quintessential cadenza indication. However, there is nothing in either solo bassoon part at this point. Despite this, I believe that the tonic 6 /4 chord with fermata before the O.S. is sufficient indication for a cadenza to be played here.” Perhaps the trilled supertonic was omitted because a cadenza for two instruments would have more freedom in its ending. (Which part would play the supertonic last note?) More likely, the omitted notes are a result of the haste with which this was written, Schacht assuming that the performers would know to play a cadenza here and would know how to end it.

Concerto in F (Rtt Schacht 30) The third bassoon concerto of Schacht (Rtt Schacht 30) is in F Major and was composed in 1789. The only extant original source for this piece is the autograph score housed in the Thum und Taxis library in Regensburg. There is no title page. Across the top of the first page of the score is written

8 / Concerto di Fagotto/Schacht 1789". The instrumentation is solo bassoon, two oboes, two homs, and strings.® The first movement is in F, 4/4 time, marked Allegro; the second movement is in B-flat, 2/4 time, and marked Romanze: Andantino. The last movement is a set of variations in F, 2/4, marked Variazioni: Allegretto. It is not known for whom this concerto was written. It may have been written for either Joseph Schmidtner or

“ Thorpe makes no mention of a cadenza in the score nor the text of his document.

” This is identical to the instrumentation of the Mozart bassoon concerto, K.191. 48 Wenceslaus Knieschek, the bassoonists at Thum und Taxis in 1789, or for a visiting bassoon soloist. This work is discussed further in Chapters IV, V, and VI. A critical edition of the full score is presented in the Appendix A. Two editions of the solo bassoon part are also presented: a critical edition in Appendix B and a practical edition in Appendix C A copy of the first page of the autograph is shown in Plate II below. 49 Plate IL First page of autograph Rtt Schacht 30. CHAPTER IV ANALYSIS OF CONCERTO DI FAGOTTO (RTT SCHACHT 30)

As has been mentioned previously, the F Major Concerto di Fagotto (Rtt Schacht 30) is in standard three movement concerto form: fast-slow-fast. With regards to form, the work as a whole, and each movement alone, is a good example of standard classical concerto procedure. The first movement is a so-called "sonata-concerto" form (perhaps better referred to as "first- movement concerto" form), the second is in ternary, and the third is a set of variations. The form and features of each of these movements will be discussed in turn with inter-movement connections made along the way.

Movement I (Allegro) "Perhaps no aspect of the Classical concerto has been so often discussed, and so often misrepresented, as form."* So says Andrew Keams at the start of the chapter on form in his dissertation on horn concertos from the Thum und Taxis library. And he is justified in saying so, especially with regard to the form of the first movement of the concerto. Much of this discussion about form can be seen as a dichotomy. On one hand is the older idea that the first movement of classical concertos can be seen as a ritomello form. In

' Keams, Hom Concertos, p. 27.

50 51 other words, it may be seen largely as a continuation of Baroque concerto practice. On the other hand is the point of view that the concerto is a variation of sonata form with a so-called "double exposition". This later view is often deemed "sonata-concerto form". It is beyond the scope of this present paper to fully argue the merits and demerits of these two viewpoints.' However, I wish to make reference to both models in my discussion of the Schacht concerto. Hence, both approaches to concerto form will need to at least be introduced and compared. I will begin by presenting general diagrams and brief discussions of each approach. Charles Rosen puts forth a diagram of mid-eighteenth century concerto form based upon the ritomello principle, containing four ritomellos and three solo passages, like so':

IR IS IR IS IR IS IR II II - VIV l(V)-vilI II II

R = ritomello S = solo

Figure 9: Diagram of first-movement concerto form.

* See Stevens, Jane R. "An 18th-century Description of Concerto First- movement Form," Tournai of the American Musicological Society. XXIV, 1971. pp. 85-95, and "Theme, Harmony, and Texture in Classic-Romantic Descriptions of Concerto First-Movement Form," Toumal of the American Musicological Society. XXVII, 1974. pp. 24-60; Rosen, Charles. Sonata Forms. revised edition. New York: W. W. Norton & Company, 1988; Tovey, Donald Francis. Essays in Musical Analysis. Volume HI: Concertos. London: Oxford University Press, 1936; etc

* Rosen, Charles. Sonata Forms, revised edition. New York: W. W. Norton & Company, 1988, p. 71. 52

Originally, the opening and closing ritomellos were identical, or nearly so, and acted as a frame to the movement, creating a type of ABA ternary form where the outer ritomellos are the A's and the inner five sections are a much longer B section. As the form evolved, the opening ritomello became much grander in scale and presented most, if not all, of the main themes of the movement, and hence it became "...too long and too ambitious to repeat at full length at the end".^ As a result, the opening ritomello took on more the character of an exposition, the closing more the character of a coda. This lead to the differing viewpoint of concerto form as a derivation of sonata principle. Originally, this later view of concerto form as a relative of sonata form did not alter the original ritomello construct as much as it changed the function and terminology of the sections. One representation of this may look like so:

I Exp. #1 I Exp. #2 I (Close) I Dev. l(Dev/Retrans.) I Recap. I (Coda) I IR IS IR IS IR IS IR I II II - VIV l(V) —> Vi I(vi) —> I:HC II II I

R = ritomello S = solo

Figure 10: Diagram of first-movement concerto form with sonata-concerto terminology.*

^ Rosen, p. 72.

* The first exposition is also referred to as the "orchestral exposition" while the second is also referred to as the "solo exposition". The primary elements of this model are the two expositions, and the later solo entrances as development and recapitulation. 53 In this model, the final ritomello is usually a repeat of the end of the first ritomello. Alone, neither of these models satisfactorily explains the formal procedures of the first-movement concerto, and each has its intrinsic flaws. Fortunately, the first movement of the Schacht concerto fits quite nicely into either approach. A diagram of the first movement of the Schacht concerto is presented in Figure 11, which includes reference to both models. measure: Il 52 153 107 1107 116 1117 147 1147 159 1160 223 1223 236! section: I Expos. # 1 I Expos. #2 I (Close) I Development I (Retrans) I Recap I (Coda) I Rit./Solo: I Ritomello I Solo I Ritomello I Solo I Ritomello I Solo IRit. I key: IF 1C IF IF C 1C CI C-~(var. keys)~~d I d F:V7 IF F IF FI themearea: IAIBICj_ 3 lAIDIE IC1 IC3 I Cad. 1A ID IE IE IB lAICIDIC^IF IC2 IC3 I measure: II 120131 153170180190 1107 1111 1117 1126 1129 1147 1154 11601169117611961214 122312311

Figure 11: Diagram of first movement of Rtt Schacht 30.

% 55 Although the idea of sonata-concerto form has its merits, it has one major obstacle, namely the cadence at the end of the first ritomello. In the Baroque concerto the outer ritomellos remained in the tonic key. In the classical concerto this framing quality was retained, at least in part, by having the outer ritomellos end with the same material in the same key (tonic). This means that the first "exposition" of sonata-concerto form must end in the tonic. Of course the foundation of true sonata form is the dynamic created by the polarity of tonic and dominant This dynamic is initially established by the statement of the second theme of the exposition in the dominant key. It is then confirmed by the strong cadence in the dominant at the end of the exposition. Stating this theme and this cadence in the tonic undermines the dynamic which is central to sonata principle and removes the need for resolution achieved during the recapitulation. This conundrum is perhaps enough to prevent one from wishing to use the term "sonata" when discussing the form of the first movement of the classical concerto. While on the subject of the harmony of the opening ritomello, one other issue should be raised. By the late eighteenth century the opening ritomello was on a relatively grand scale presenting several themes. To remain in the tonic throughout such a lengthy exposition would be tedious. So it would seem natural that one or more of the themes would be presented in the dominant. But to modulate to the dominant and then retum to the tonic creates its own problems. Rosen states. 56 "...a ritomello that starts on I, moves to V and then returns firmly to I with all the dissonance and tension resolved is an action completed. It must be remembered that the tonic close of the opening tutti must be elaborate enough to serve as the end of the whole piece. Its appearance at the end of the first section therefore resolves any harmonic polarity and tension...and it is too soon in the work for that"*

Rosen goes on to mention one way in which Mozart and Beethoven resolved this issue, by enlivening the opening section with a

"... rapidly modulating theme that establishes none of the keys it touches upon, and which therefore does not attack the authority of the tonic, but merely gives it a vivid chromatic sonority"

In the present concerto, Schacht resolves this issue in a different manner. He does modulate to the dominant key to state the second theme. However, he spends only four measures (mm. 20-23) on this theme, which is the most banal and structurally unimportant theme (theme "B' in fig. 1 1 ) presented in the opening section. He then begins a retransition, and reaches the tonic in the third bar (m. 26) of the retransition. Four measures later he introduces the third main theme of this ritomello (in the tonic). This theme area contains many ideas ('C themes) which become important as cadential material, as tutti interjections, and as themes for presentation and development by the soloist. So, Schacht does indeed go to the dominant which introduces a bit of harmonic variety.* But the move to the dominant

• Rosen, p. 73.

^ Rosen, p. 74.

* Some additional harmonic interest is achieved through tonicization of the subdominant late in this section (mm. 35-36, 37-38, and 43-44). 57 is short and de-emphasized, and hence, does not establish a strong sense of tonic-dominant tension. As a result, the close of the opening section does not present the premature sense of resolution which Rosen describes. Schachfs works, and the descriptions of these works discussed previously, create a picture of a competent composer whose music reflected the norms of the time. However, found within this somewhat conservative music are interesting harmonic, melodic, and structural features. One such feature shows the influence of Schacht's primary composition teacher, JommellL This concerto contains a Jommellian crescendo (achieved through the gradual addition of instruments) in mm. 39-43. (See Figure 12.) This passage is structurally significant, signaling the closing of the first ritomello as well as beginning the final ritomello of the movement.’

V m JD B

Figure 12: Rtt Schacht 30, mov. 1, mm. 39-43. * * In the manuscript there is a D.S. at the end of the first movement directing the performers back to play mm. 39-52. In the current edition, this has been written out creating measures 223-236. 58 One striking thematic feature occurs in measure 53 at the beginning of the solo exposition. The orchestra has concluded the first ritomello with a grand cadence followed by a quarter rest, and one anticipates the first entrance of the solo bassoon. However, the orchestra begins the main theme again by playing the opening figure. Only then does the solo bassoon take over with the second part of the phrase. Notice how Schacht modifies the rhythm at the end of the first figure to create a fanfare-like entrance for the belated soloist (see Figure 13).

Figure 13, Rtt Schacht 30, mov. 1, mm. 51-55, beginning of the solo exposition. 59 The opening figure returns at the beginning of each of the solo sections. It is interesting to see how Schacht handles the presentation of this figure at these points. At the beginning of the development (m. 116), Schacht leads into the figure with a descending eighth note line in the solo bassoon along with low strings. This descending line replaces the thirty-second note triplets as a lead-in to the figure. But what is truly interesting here is that the melody is a third higher (beginning on scale degree 3 instead of 1 ), and stays a third higher for the first measure and a half. Schacht further varies the figure with a trill on the dotted quarter note (see Figure 14).

Figure 14: Rtt Schacht 30, mov. 1, mm. 116-118, beginning of the second solo (development). 60 The final statement of this figure appears at the beginning of the recapitulation. Here, Schacht uses yet another setting to introduce the main theme, combining elements of the previous statements. He leads into the figure with the descending eighth note line again, this time in the oboes and violas. The thirty-second note triplet lead-in is also present, this time in the solo bassoon - the first and only time that the soloist plays this, the first motive of the work! (See Figure 15.)

f ^ r ,

JLv ^ f r r ^ J ~ l =

I T ' ' - -4 -n -l---- :------Kj-1—----- K , 1 1 J 1 i J - U n - 9^;= ^ - =

V m JS M

Figure 15: Rtt Schacht 30, mov, 1, mm. 159-160, beginning of the third solo (recapitulation). 6 1 While this technique of varying the treatment of material on each retum is by no means out of the ordinary, Schacht does seem to find creative means of doing so. Another notable example is in his treatment of one of the themes from theme area E (see Figure 11). The first appearance of this theme is in measure 80. Here the bassoon plays a leaping eighth note figure which clearly outlines the harmonic scheme of alternating measures of I and V. In this passage, the solo bassoon is not the real interest; it can be seen as accompanimental to the first violins who carry the real melody (see Figure 16).

Oh.1

O b.2

Horn.

Bm.

Vn.1 P 3 3

V a.2

VU r r r - r VocVDB

Figure 16: Rtt Schacht 30, mov. 1, mm. 80-83. 62 When this theme reappears in measure 137 (in d minor), Schacht does something quite unsuspected. He omits the violin melody in the first and third measures (the i chords), thus leaving the bassoon alone with the low strings, who are playing virtually in unison with the soloist (see Figure 17).

m m 6

Figure 17: Rtt Schacht 30, mov, 1, mm. 137-140.

Another more subtle example of varying material upon its retum involves the scale-wise passage in measure 69. After a strong authentic cadence in F, the solo bassoon plays an F Major scale in sixteenth notes arriving on a high F on the next downbeat. While one would expect this high F to be a tonic note, it turns out to be the seventh of a V7 chord in C Major - certainly an interesting way to modulate to the dominant (see Figure 18). 63 0 ™ ' l / l ' p p

^ / r r t -e — . - - - I - f

------p r /I n F: I C; V

Figure 18: Rtt Schacht 30, mov. 1 , mm. 69-70.

Although this is an idea worth repeating, Schacht declines to use it again when the figure returns in measure 176. Here the figure appears after a half cadence in Bb Major. The scale passage is still F to F, but this time with an Eb. This £b is a signal that this passage will not be used to modulate, and in fact it doesn't. The F on the downbeat is merely the fifth of a I chord in Bb (Figure 19). 64

4 ' 1 1" 1 « L 1 . 1 L - ■ ■ - P = . = = * = ^ ^ ^

flt. .r-i» — Va.1 f '

. n o m ------1 , 4 - - F = ' - - 1 p

. i l EL' i . . -

Bb;V

Figure 19, Rtt Schacht 30, mov. 1 , mm. 175-176.

The arrival of the sub-dominant key (Bb) just before the above passage provides one of the most interesting harmonic moments of this movement. In measure 160, Schacht begins the third solo (recapitulation) with the primary theme (see Figure 15 above). The first six measures of the theme are formally and harmonically identical to their initial statement However, in the seventh measure of the theme (m. 166), Schacht alters the accompanying lines on beat 4. Here he creates descending chromatic lines in two voices which then lead into a V7 chord in Bb on the next downbeat (m. 167). However, the solo bassoon line is identical to its appearance in mm. 59-60 until the end of measure 167, where it is altered to complete the cadence in Bb (Figure 20). 65

Ofc.1

Okl

Km.

Va. I

V a.2

V h

VwVOB

F: I* B^:V^ 14 V I

Figure 20: Rtt Schacht 30, mov. 1 , mm. 166-169.

In measures 129-135, Schacht adds an interesting twist to a standard drde-of-£ifths harmonic progression. In the key of d minor, he begins with a i chord in measure 129, progressing through iv and VH (V/IU) arriving on a m chord in measure 132. One would expect a Bb major chord (VI) in the next measure. However, here Schacht substitutes a B7 chord, V/ii°. This is unusual, not only because it creates an unexpected tritone root motion (F - B), but also because it breaks a general rule that diminished chords are not to be tonicized. Schacht works his way out of this situation quite ingenuously. 66 Instead of resolving the V 7/11° to a root position or even a first-inversion il° chord, he goes to a minor 11^^^ triad retaining the B natural in the bass voice.

As raised scale degree 6 , this B-natural should lead up to C#; presumably bringing the 11^/^ to a chord. Schacht betrays these tendencies, lowering the B-natural back down to a B-Hat - the originally expected bass note - here serving as the bass of a iv^ chord. This then leads to a root position V7 chord, which resolves to i, completing the drcle-of-fifths begun in measure 129 (see Figure 21).

"-li

ii) ij ' Ü

VmÆrn

d: III

Figure 21: Rtt Schacht 30, mov. 1, mm. 132-135. 67 Schacht begins a repeat of the same drcle-of-fifths material in measure 147, this time ending with a new but equally creative conclusion to the passage. When Schacht arrives on the m chord in measure 150, he adds an Eb to the F major triad thereby creating a V7/VL This he resolves deceptively to a iv^ (g minor) chord. He extends the iv^ chord for two more measures using a vii®^/^/iv chord. On beat three of measure 153, the VI chord finally arrives only to be replaced with an incomplete b®^ chord on beat 4. This serves as a leading tone seventh chord, beginning a modulation to C major. Notice the chromatic bass line Bb- B, the opposite of the B-Bb found in measure 134 (see Figure 22).

d: III V^/VI iv^ v ii° § iv^ v ll°§ VI I

iv IV

Figure 22: Rtt Schacht 30, mov. 1, mm. 150-154. 68 One quite unexpected feature of this movement is the absence of a cadenza. The orchestra arrives in grand fashion on a second inversion tonic chord on the downbeat of measure 2 2 1 , two measures before the beginning of the coda/D.S. This normally is a clear signal for a cadenza. However, Schacht makes no indication of a cadenza here; there is no fermata, neither in the bassoon part nor in the orchestra. One could argue that the soloist should or could play a cadenza here, ending with the figure found in the second half of measure 221. However, the conspicuous absence of any fermata, the absence of an extant cadenza” and - perhaps most importantly - the similar treatment of the cadenza opportunity in the second movement (see below), lead one to believe that Schacht intended no cadenza here. But given the formal significance of this moment, the soloist may wish to play this passage with rubato and/or other means of emphasis. There is a thematic relationship found in this movement worthy of mention here. The main theme ends with this melodic cadential formula found commonly in Schachfs (and others') music J ' ^ fTT^ I J ■

What is interesting is that this cadential figure then becomes the main idea of the closing theme area ('Cl' from Figure 11) (See Figure 23). The motive appears many times throughout this movement as part of both themes.

"There are some extant cadenzas composed by Schacht from clarinet concertos (and possibly others?). See Lasocki and Mather, The Classical Woodwind Cadenza. 69 Rtt Schacht 30, mov. 1, mm. 8-10, end of opening theme.

Rtt Schacht 30, mov. 1, mm. 31-3^ beginning of closing theme.

rf—fr r r i p&ETF-.-- - Î1 - : =====:

J r — - &------

Figure 23: end of opening theme compared to beginning of closing theme.

Movement U (Romanze - andantino) The second movement is in ternary form, IAIBI A' I, which is outlined in detail in Figure 24. This simple formal design complements the unpretentious nature of the themes found in this movement. In general, the melodies are conjunct, slurred, and within a narrow range. This description is not meant to be pejorative - this movement has a beauty in its simplicity. Measure: 1 1 125 145 1 Section: lA IB lA' 1 Solo/Orch: Isolo lorch Isolo Isolo/orch Isolo lorch Isolo/orch 1 orch 1 Theme: lal Ia2 lal Ia3 lext Ibl Ib2 ItranslaT lal Ia3 laZ Ia3 laZ lext loodal Key: IBb -F IF IBb IBb IBb IBb IF IBb IBb IBb IBb IBb IBb IBb IBb IBb 1 Cadence: 1 AC 1 PC 1 HC 1 AC 1 AC 1 HC 1 AC 1 HC 1 HC 1 HC 1 AC 1 AC 1 AC 1 AC 1 AC 1 AC 1 Measure: 1 1 18 115 119 1 2 2 125 133 140 145 153 157 160 165 168 172 179 1

Figure 24: Diagram of second movement of Rtt Schacht 30.

•nI o 71 The figure from the first movement which was discussed previously is also prevalent in the second movement. Here too it is found both near the beginning of a phrase and at cadence points. When used near the beginning it is slightly altered by the addition of an accented passing tone on the downbeat (Figure 25). The use of this figure in both movements can be seen in a positive light as an example of quality, unified construction. On the other hand, the prevalence of such a standard figure may reveal the "lack of substance and profile" to which LaRue referred.^^

Andinrino WoW

Figure 25: Rtt Schacht 30, mov. 2, opening theme. mm. 1-8.

There is one large question looming over this movement which effects not only the analysis, but the editing as well. The question is this: Is the music in measures 33-40 in F Major or in Bb Major? At first glance it appears to be Bb Major, due to the absence of E-naturals. There is an E-natural indicated in the bassoon in m. 33, but E-flats in the oboe 2 and viola parts throughout this passage. (These are the only E's of either type in measures

" LaRue, p. 139. 72 33-40.) If the key is F Major, it would appear that Schacht has erroneously omitted six natural signs - two in measure 34 (oboe 2 and viola), three in measure 35 (oboe 2, bassoon, and viola), and one in m. 38 (bassoon). However, it was common practice for Schacht to have accidentals remain in effect over bar lines. Therefore, these six missing accidentals may be seen as only two missing accidentals - those in the oboe. 2 and viola parts in m. 34. (The bassoon's E-natural in measure 33 is still in effect in measures 35-38.) Still, these two missing naturals - plus the missing return to E-flat's in subsequent measures - seem sufficient evidence to determine that the key here is Bb Major. Despite this evidence, 1 wish to argue that the music here is in F Major, and that the E's in measures 34-38 should be natural and not flat, for the following reasons: 1) An E-flat in measure 34 after the bassoon's E-naturals in measure 33 sounds wrong. 2) The harmonic cadence at the end of the section (mm. 38-40) is clearly F: 11 - ii^ 11^/^ - I 11. It would be hard to explain this as Bb: IV - vi^ I - ii^ I VI(See Figure 26.)

'* The analysis is muddied further because the C chord on beat 2 of measure 39 has it's third (E) omitted. Hence, this chord is analyzed as a Major-minor seventh in F but a minor-minor seventh in Bb. 73

rA.L 1—wmmm.------

f » m m F: I li* v' I (B^; V Vl^ ii^ V)

Figure 26: Rtt Schacht 30, mov. 2, mm. 38-40.

3) The melodic cadential formula in measures 39-40 shows F as tonie, (see Figure 27)

I___ _

39 40

Figure 27: Rtt Schacht 30, mov. 2, mm. 39-40, bassoon. 74 4) The form necessitates a modulation to the dominant at this point This is the end of the middle section ('B') of the ternary form, which should end with an authentic cadence in the dominant to set it off from the A' section. This authentic cadence on the downbeat of measure 40 allows the proper function of measures 41-44 - à retransition back into the A section and the tonic key. This retransition is achieved harmonically by the return of E-flats, here functioning as the seventh of the dominant seventh chord in Bb. This harmonic function is completed with the half cadence in Bb on the downbeat of measure 44 (Figure 28).

Vk.2

F: it

Figure 28: Rtt Schacht 30, mov. 2, mm. 39-44. 75 Note the absence of any E, either natural or flat, in the second half of measure 39. This incomplete chord directty before the cadence point adds greatly to the ambiguity of key here. Measures 12-13 also have an ^absent E% creating some ambiguity as to the key there as well (Figure 29).

^ 1 - J

—

B ; V I V I

F: I IV I IV

Figure 21, Rtt Schacht 30, mov. 2, mm. 12-13 “

The second movement is highly unified thematically. This is due in large part to the fact that the themes in the middle section are related to those of the outer sections, rather than being more contrasting as one might expect in a ternary form. The prominent two sixteenth- eighth-note motive from measures 19-20 (a3 in Figure 15) appears at the opening of the B section (measures 26-28) and also at the beginning of the second half of B (measures 33-35) (Figure 30).

' I think that the analysis in Bb is more appropriate here. 76 mm. 19-20 mm. 26-28

mm. 33-35

VU.

Figure 30: Rtt Schacht 30, mov. 2. 77 Note also how the accompaniment in measures 25-26 is very similar to the accompaniment at the opening of the movement (Figure 31).

mm. 1-2 mm. 25-26

r A , ------;------J — 1 !1^ ^ P

3 VfekS P «fÙk ■ ■I ^ i»------7------J i p tp m .

E VdjSa. ^ J tpm-

Figure 31: Rtt Schacht 30, mov. 2.

In the first movement there were several examples of material being varied upon each return. The same technique can be found in this movement, especially with the a2 theme first presented in measures 8-11. When this material returns in measures 60-63, Schacht keeps the string accompaniment very similar, simplifies the oboe parts, and - most importantly - introduces a new melodic idea in the solo bassoon (Figure 32). 78 mm. 8-11

mm. 60-63

0kl

p fffl ■JHhi*—CCtr’^BSj =M=■ ■ p

Figure 32: Rtt Schacht 30, mov. 2. 79 When this material appears for the third time, Schacht keeps the new theme, but reorchestrates the accompaniment - surprisingly giving the repeated sixteenth notes to the horns (Figure 33).

Figure 33: Rtt Schacht 30, mov. 2, mm. 68-72.

Upon its first appearance, this melodic theme seems to be presented merely for the sake of variety. However, its repeat makes one think that it may be more important than that. Its importance is confirmed when a variation (diminution) of this theme is presented as the closing idea of the movement, the original theme (from measures 8-11) all but forgotten (Figure 34). 80

f v c _ r r r

Figure 34: Rtt Schacht 30, mov. 2, mm. 77-80.

As in the first movement, the second movement affords an opportunity for the composer to call for a cadenza when the orchestra arrives on a second inversion tonic chord six measures from the end. But here again, Schacht forgoes the cadenza, instead composing a direct connection to the dominant chord and the supertonic trill for both soloist and orchestra (Figure 35). Here too, the formal significance of this moment calls for special emphasis in performance. 81

T ' r 1 P - * T f c = ------i------i T " * = ■ P

■ ' '

1 j > r - L u

/ f If]

L ^ M _ f

n N If

Figure 35: Rtt Schacht 30, mov. 2, mm. 75-77.

Movement HI (Variazioni - allegretto)

This last movement is a theme followed by a set of six variations. The theme is taken from a bass aria of Gluck, "Les hommes pieusement" (Unser dummer Pobel meint). This aria comes from Gluck's opéra comique, La Rencontre Imprévue ("The Unforseen Encounter"), originally known as Les Pèlerins de La Mecque ("The Pilgrims to Mecca"). Today the opera is known by either title; often times both are given. The last and longest of Gluck's seven works in the opéra comique genre, it was premiered in Vienna in January 1764. It was first performed in Regensburg in 1768. After being translated into German it was performed again in Vienna starting in 1780, 82 where Mozart saw it the following year.” This German version, known as Die Unvermutete Zusammungkunft or Die Pilgrime von Mekka, was performed in Regensburg in 1782-83.“ The impact of Die Pilgrime von Mekka on Mozart was important for at least two reasons. First, it had a strong influence on Mozart's Die EntfUhrung aus dem Serait, which "Some spectators saw . not as a compliment, but as outright thievery."” Second, and more importantly for this paper, Mozart also composed a set of variations on Unser dummer Pobel meint (K.455).*^ Known as Ten variations in G Major, this is one of seventeen sets of variations which Mozart composed as a separate work for solo piano (not as a movement from a larger work). Of this work Arthur Hutchings says, "The opinion seems universally held that (K. 455) is the finest of these (variations for solo piano)."” At a concert in Vienna on 23 March 1783, at which Gluck was probably present, Mozart improvised variations on this theme as an encore. However, the complete composition was not entered into his own list of works until 25 August 1784. A surviving fragment of nearly five complete variations - two of which found their way into the final version -

Brown, Bruce Allen. Liner notes to Musifrance/ Erato CD WE 815 ZA, 1991.

'* Haberkamp, p. 79.

’* Brown. Liner notes, p. 39.

Tschaikovsky used K. 455 as the basis for the last movement of his "Mozartiana" SuiteNo. 4. op. 61.

'* Huthdngs, Arthur. "The Keyboard Music" in The Mozart Companion. ed. by H. C. Robbins Landon and Donald Mitchell. New York: W.W. Norton & Co", 1956, p. 52. 83 probably dates from around the time of the March 1783 concert*® Although today this theme is best known from Mozart's (or even Tschaikovslqr's) work, Schacht probably knew it only from Gluck's opera and composed his variations directly from that Certainly Schacht knew Gluck's opera, as evidenced by the performances in Regensburg and the score's presence in the Thum und Taxis library from as early as 1772.“ No direct evidence has been found that Schacht was aware of Mozart's variations. Schacht's working of the theme is much closer to Gluck's original than it is to Mozart's. This relationship is most apparent in the fact that Mozart never uses the material from the 9th-14th measures of Gluck's theme, but Schacht does include this music. (See Figure 36. The material in question is marked "c" and "d" in these diagrams.)

'• Gale, Patrick. "Piano: sonatas and other works" in The Mozart Compendium, ed. by H. C Robbins Landon. New York: Schirmer Books, 1990, pp. 305-306.

“ Haberkamp, p. XXIV. Gluck. Unser dummer Pôbel m eint. mm 1-30 sect.: l a l a Ibib le Id Id' laid I d ' lal harm:IG:I II II VI V I->D:Ila:V i IG:V II Ila:V ilG:I VI II mm.: Il 415 8 19 10111 12113 14115 16117 18119 22123 24 125 26127 301

Rtt Schacht 30. diagram of mov. 3 sect.: l a l a Ibib le Id Id' lal I ext(a) harm:IF:I II II VI V I->C:I lg:V i IF:V II II I I mm.: Il 819 16 117 20 121 24125 28129 32133 36137 441 145 48

Mozart. K. 455. Theme sect.: I a I a I I d I d' laid I d ' lal harm:IG:I II II la:V i IG:V II IlazV ilG:V II II mm.: II 411 41 15 617 819 1215 6 17 8 19 121 l:repeat:l I: repeat :l

Figure 36: Diagrams of theme as it appears in works of Gluck, Schacht, and Mozart. ‘

' This diagram is aligned vertically to facilitate comparison. The blank spaces in the Schacht and Mozart are intentional in order to keep this alignment. The repeats in Mozart have been written out and marked as such, again to facilitate comparison. Note that the Schacht is in 2/4 time where as the others are in 2/2 time; g hence, two measures of Schacht is the equivalent of one measure of the others. 85 Although structurally closer to Gluck's version, there are some interesting similarities between Schacht's variations and Mozart's. Although Gluck's aria is marked Andante, both Mozart's and Schacht's variations are marked Allegretto. Schacht opted to mark his movement in 2/4 time. While Mozart's final version is in 2/2 time like Gluck's, a look at his autograph copy shows that he wrote the first eight measures in 2/4 time. He changed this to alia breve by crossing out every other bar Une.^ All of Mozart's variations use repeats which emphasize their rounded binary form. Three of Schacht's variations have these repeats (see below). Schacht was fond of using the last two measures of Gluck's aria as an extension. (See Figures 36 and 37.) In the last variation, he closes with three statements of this extension. Mozart also used this music as an extension, stating it five times near the end of his last variation. (This is then followed by a further extension comprised of seven measures of alternating tonic and dominant.) From these few similarities one might be tempted to conclude that Schacht knew and was influenced by Mozart's piece. While this is possible, I feel it is more likely that such similarities are a result of the common practice for composing instrumental variations on an operatic theme. While Schacht's variations do not show the originality of Mozart's, they do share some of the traits of compositional craftsmanship. In Schacht's work, most of the variations have slight alterations to the form of the theme. Three of them (Variations H, HI, and V) include repeats which emphasize the rounded binary structure of the theme. A complete diagram of the theme and each variation is given in Figure 37 (below). As

A facsimile of the first page of the autograph is included in Neue Mozart Ausgabe. Serie IX: Klaviermusik, Werkgruppe 26: variations fiir Klavier, p. XIX. 86 one would expect, this set of variations provide ample opportunity for passagework for the soloist. However, the rhythms never get faster than sixteenth notes. There are no sixteenth-note triplets nor thirty-second note passages as one would typically find in Germanic concertos of just a few years later. The variation form does allow Schacht to reveal his compositional technique. The most interesting devices involve chromatic lines and harmonies, and unexpected shifts to parallel minor. The prevalent figure found in the first two movements (discussed above) does not appear at all in the last movement. Schacht had good opportunity to use this figure at the end of every 'a' section and every extension of a' (See Figure 37), but he avoided it throughout. While the use of this figure in the third movement would have provided further unification of the three movements, it may have also become tedious. As the absence of this figure appears to be a conscious decision, Schacht apparently felt that the risk of monotony outweighed the benefits of further thematic unification. 87

Theme Thm la la lb c I d I d' a lext[a] I Harm IF: 11 II V I V ->C IIg: i IF: I II 11 Meas II 19 117 121 25 129 133 47 145 I

Variation I Thm I a I lb lb c I d I d' a I ext[a] I Harm IF: II I VI V ->C:Ilg: i IF: I II II Meas 149 I 157 161 65 169 173 77 185 I

Variation II Thm I: a I: b I b c I cl I d' a :l Harm l:F: I: V I V ->C I Ig: i IF: I 1 :1 Meas 1:89 1:97 1101 105 1109 1113 117 :l

Variation HI Thm I: a lext(a] I: b I b c I d I d' a lext[a]:l Harm l:F: II I I: V I V ->Q IIg: i IF: I II 1:1 Meas 1:125 1133 1:137 1141 145 1149 1153 157 1165 :l

Variation IV Thm la la lb lb o' Id Id' a lext[a] I Harm IF: II II VI V -> c i I g: i IF: I II II Meas 1169 1177 1185 1189 193 1197 1201 205 1213 I

Variation V Thm I: a b I c" €xt[c] I d I d ' a :l Harm l:F: V l->CI -> c i I g: i IF: I hi Meas 1:217 225 1229 233 1237 1241 245 :l

Variation VI Thm I: a I b I b c I d I d' a lextfa] lext[a] lext[a] I Harm l:F: I V I V -> c i I g->bb IF: I vil II II II Meas 1:253 1261 1265 269 1273 1277 281 1289 1293 1297 I

Figure 37: Diagram of Rtt Schacht 30, movement 3 /

“This diagram is aligned vertically to facilitate comparison; the blank space in Variation I is intentional in order to keep this alignment. Here repeats are not written out but are indicated like so: I : : I CHAPTER V CONSIDERATIONS FOR AN HISTORICALLY INFORMED PERFORMANCE

Today, the study of historical performance practice is a well-established discipline, and performers - even if not playing period instruments in an "authentic" performance - are expected to have a basic familiarity with the discipline. This means that at issue for the performer of the Schacht bassoon concerto are two primary and related questions: 1) How would this piece have been performed in Regensburg in 1789, and 2) How can a performance today best recreate or at least reflect such a performance? Of course, neither of these questions can be answered fully, but one can strive to come as close as possible. It is not the goal of this chapter to rehash the basics and delve into the intricacies of performance practice in the late Eighteenth-Century. Rather, it is intended to assist a performer of the Schacht concerto in answering the above questions and hence in delivering an historically informed performance. This will be done in two ways. The first of these is by providing pertinent and specific information. Where such information is available and possible to provide, it is included in the body of this chapter. The second way is by directing a performer to relevant additional resources. These sources may be used to help answer specific questions, as well as to give the performer a general understanding of the issue of performance practice as it

88 89 relates to classical music As the field of performance practice is now quite well established, there are now many such sources readily available. These sources include historical treatises and tutors as well as modem works. However, few of these sources deal directly with Schacht, the bassoon, or Regensburg in 1789. Sc one must find the most relevant sources for the information being sought. Historical treatises comprise the most important sources. The first that come to mind are those by Quantz (Berlin, 1752)', CP.E. Bach (Berlin, 1753- 62)^, Leopold Mozart(Augsburg, 1756)®, and Turk (Leipzig, 1789)\ Of these, the Turk treatise comes closest in time and perhaps place to the Schacht concerto. The others, although they predate the concerto by three decades, are relevant because they not only reflect their present and past, but influence their future. All three were well-known and widely distributed in their day. In addition to these historical sources, one may wish to refer to modem sources such as those by Eva and Paul Badura-Skoda®, Friedrich

'Quantz, Johann Joachim. Versuch einer Anweisung die Flote traversiere zu spielen. Berlin, 1752. Translated by Edward R. Reilly as On Playing the Flute. New York; The Free Press, 1966, p. 198.

* Bach, Carl Phillip Emanuel. Versuch über die wahre Art das Clavier zu Spielen. Berlin, 1753. Translated and ed. by William J. Mitchell as Essay on the True Art of Playing Keyboard Instruments. New York: W. W. Norton, 1949.

* Mozart, Leopold. Versuch einer gründlichen Violinschule. Augsburg, 1756. Translated by Edith Knocker as A Treatise on the Fundamental Principles of Violin Playing. London: Oxford University Press, 1951.

* Turk, Daniel Gottlob. Ciavierschule. Leipzig, 1789. Translated by R. Haggh. Lincoln, Nebraska, 1982.

® Badura-Skoda, Eva and Paul. Interpreting Mozart on the Keyboard. Translated by Leo Black. New York: St. Martin s Press, 1962. 90 Neumann^ and Neal Zaslaw/ Although all three of these sources deal specifically with Mozart's music, much of the information and many of the ideas contained within them can be applied to classical music in general - especially Germanic classical music Similarly, none of these sources deal directly with the bassoon - or any wind instrument for that matter. For this, a bassoonist may use the bassoon tutors of Ozi(1787,1802)“, Berr(1836)’, and Almenrader(1843).“ A lthough none of these are particularly close to 1789 Regensburg, they are still relevant, especially when one considers that tutors tend to be thorough and reflect the practices of the past as well as present. Perhaps the most reliable source in terms of proximity of time and place and similarity of instrument is the flute tutor of Tromlitz, published in Leipzig in 1791“ . In most cases, if a performer goes to the above sources for a specific answer to a specific question (How should this passage be articulated?. How fast should this movement go?, etc.), she/he will find the sources lacking. Their value lies not so much in tangible and immediate solutions, but more

* Neumann, Friedrich. Ornamentation and Improvisation in Mozart. Princeton: Princeton University Press, 1986.

' Zaslaw, Neal. Mozarf s Symphonies: Context. Performance Practice. Reception. Oxford: Clarendon Press, 1989.

* Ozi, Etienne. Méthode nouvelle at raisonée pour le basson. Paris, 1787.

* * Berr, Friedrich. Méthode complète de basson. Paris, 1836.

'* Almenrâder, Cari. Die Kunst des Fagottblasens. Mainz, 1843.

" Tromlitz, J.G. Ausfuhrlicher und gründliche Unterricht die Flôte zu spielen. Leipzig, 1791. The above four tutors and many others are listed in Performance Practice after 1600. ed. by Howard Mayer Brown and Stanley Sadie, New York: W. W. Norton, 1989. 91 in offering possibilities of what may have been and in creating a picture of the general performance style and characteristic of the day. With many issues, they will refer the performer to her or his own "taste".

The Orchestra at Thum und Taxis In Chapter 2 the orchestral personnel and resources at Thum und Taxis were discussed in detail. The most pertinent personnel list for the bassoon concerto is ForkeTs list of 1782: twelve violins, two violas, two cellos, two contrabasses, two oboes, two flutes, two clarinets, four homs, two bassoons, four trumpets, one timpani. By 1789, the musical personnel at Thum und Taxis may have been reduced somewhat, but drastic cuts had not yet begun. At the very least we can say that for an historically-informed performance today, the string section should not exceed the maximums here (6-6-2-2-2). Perhaps even slightly smaller would be appropriate, especially considering the small wind section (two oboes, two homs) and the fact that in a bassoon concerto balance could be a problem. Most certainly, a 1789 performance would have been led by the concert master or perhaps to some degree by the soloist According to Angerer, the Hofkappelmeister "...lead the rehearsals and concerts with his instrument..."“ Because the notion of playing without a conductor is quite rare today, even for chamber orchestras, this is one aspect that may not be pmdent to replicate

'* Angerer, et al, p. xv. This passage continues "...when these were not conducted (from 1773 on) by the superintendent (Schacht) himself." There are several references to Schacht conducting opera performances, but I've encountered none that refer specifically to him conducting concert performances. 92 today.“ There is no surviving reference to the seating arrangement of the of the Thum und Taxis orchestra. However, from diagrams and descriptions of seating arrangements from nearby orchestras around this time, one can surmise that the first and second violins probably sat across from each other."

Pitch No specific evidence of the pitch level used at Thum und Taxis has been found. In 1789, pitch level had not yet been standardized. Cary Karp refers to a Hate 18th-century 'Classical' pitch near A422."“ This pitch level is based largely on two surviving tuning forks: one used by Handel at a 1751 performance of Messiah, and one used by J.A. Stein, the maker of a piano purchased by Mozart. However, even Karp calls this evidence "highly tenuous"" and certainly these tuning forks have no direct bearing on 1789 Regensburg. Karp goes on to mention that surviving woodwind instruments provide a reliable source of information. So in this case, perhaps the most relevant evidence comes from surviving bassoons. In The Proud Bassoon. William Waterhouse provides photographs of and detailed

” See Adam Carse, The Orchestra in the XVXIIth Century. Cambridge: W. Heffer & Sons Ltd., 1940, pp. 88-109.

" See Carse, op. cit.; Neal Zaslaw, 'Toward the Revival of the Classical Orchestra", Proceedings of the Royal Musical Society, dii (1976-7), 158-187; D.J. Koury, Orchestral Performance Practices in the Nineteenth Century. PhD dissertation, Princeton University, 1983; and Jack Westrup, "Orchestra", New Grove Dictionary of Music and Musicians .

'* Cary Karp, "Pitch" in Performance Practice: Music after 1600. p. 164.

'* Karp, p. 164. 93 information about dozens of historic instruments. The two that come closest in time and place to 1789 Regensburg are both pitched at A440. These are a bassoon by Kirst made in Potsdam in the late 18th century, and one by Griesling & Schlott made in the early 19th century in Berlin. It should be noted that Waterhouse also lists a bassoon by Tauber made in Vienna in the early 19th century pitched at A430.*^ Based on this admittedly imperfect evidence, one could assume that the Schacht bassoon concerto would have been played at A440, possibly as low as A430..

Soloists It is not possible to say for whom this piece was written or who was the soloist at the first performance. The most likely possibilities are Joseph Schmidtner, then principal bassoon of the Hofkapelle, or his second bassoonist, Wenceslaus Kniescheck (See Chapter II). It is also possible that it was written for a featured guest rather than one of these two bassoonists. The general issue of whether a concerto soloist should play during tutti passages or not is a problematic one. Much has been written and said about the topic, much of which is contradictory. Further, information relating directly to a bassoon concerto in 1789 Regensburg is rare. In most classical bassoon concertos - Schacht's being no exception - the solo bassoon is generally marked in unison with the orchestral bass part during tutti sections. Since the notes are in the part, it would seem obvious that the soloist should play these notes. However, it has been the tradition for the last generation and even longer for bassoonists to not play during tutti passages. This raises the questions: What was the tradition then (1789 " Waterhouse, William. The Proud Bassoon. Edinburgh: Edinburgh University Collection of Historic Musical Instruments, 1983. 94 Regensburg in our case)? And what did a composer (Schacht) intend when he wrote the tutti bass line into the solo bassoon part? Finding tangible, primary evidence to serve as answers to these questions is difficult, so one must often rely on modem scholarship. Unfortunately, this is a rare case where the best modem reference sources, such as articles in Grove ("Performing Practice", "Concerto", 'Tutti") and Brown and Sadie's Performance Practice: Music after 1600. provide little help. Of the Mozart Bassoon Concerto, K. 191, William Waterhouse says,

"The soloist should play in the tuttis, at least for a good part of the opening ritomelÜ and at the very end of the work; this serves a practical purpose (both indication of tempo and warming-up on the platform) as well as being authentic practice." “

Bassoonist Terry Ewell agrees that soloists, specifically bassoonists and oboists, should play in tuttis in classical (and Baroque) concertos. He reaches this conclusion based largely on the care with which composers notated the bass part in bassoon concertos, often varying it from the orchestral basses. He finds further support based upon the modem perception of the term "concerto". Ewell feels that modem musicians have focused on the romantic idea of "concerto" as "contending", as opposition between soloist and orchestra. He claims that a classical or Baroque musician would have seen "concerto" more in terms of the Italian word “concertare" meaning to agree.

'* Waterhouse, William. "Notes on the performance of the Mozart Bassoon Concerto K191 (186e)." Unpublished manuscript. 95 arrange or come together.’’ If one insists on primary historical sources, Quantz provides some insight. However the answers are not presented directly and must be extrapolated. Quantz says,

"If sometimes a concerto accompanied by many persons is begun more quickly or slowly than it should be...the soloist would do well to allow the ritomello to end as it was begun."^

Though apparently not related to the issue at hand, this begs the question: How could the soloist alter the tempo of the opening ritomello if she/he is not playing? It is possible that this could be done through visual cues, but more likely it would be done by speeding up or slowing down her/his own playing. A similar deduction can be made from this passage.

"Were the flautist to join in the performance of a well-written ritomello in an Arioso that is played muted or Piano, and whose melody reappears at the beginning of the solo part on the flute, he would produce the same effect as that of a singer singing along in the ritomello of an aria, or of one player doubling the other's part instead of resting in a trio. If you leave the ritomello to the violins alone, the following solo of the flute will make a much better impression than would otherwise be the case."”

Here Quantz is advising to not play in the ritomello in certain cases. From this, one can conclude that it was the norm for the soloist to play in the

'• Ewell, Terry B. 'Tlaying those 'Missing' Notes in Baroque and Classical Concerti", The Double Reed, vol. 20, no. 1. Idaho Falls: Intemational Double Reed Society, 1997.

” Quantz, p. 198.

*' Quantz, p. 202. 96 tuttis. Though inconclusive, the sum of the above evidence seems to indicate that the bassoonist in Schachfs concerto would have played in at least some, if not all, of the tutti passages.

Bassoon Of course, a performance today on an extant historical model bassoon, or replica of one, would provide a more accurate historical sound-picture than a performance on a modem bassoon. If one is to venture to play this work on a period instrument, naturally one would want to come as close as possible to the type of instrument that would have been used in the premiere. Although not mentioned above, the leading German bassoons of this day were made by Grenser in Dresden.^ Given the relative proximity and the financial means at Thum und Taxis, it is quite likely that the bassoonists there would be playing on bassoons made by Grenser. A German bassoon in 1789 (by Grenser or otherwise) would likely have at least five keys: Bb (LH thumb), D (LH thumb), Eb (LH thumb or LH4), F (RH4), and G#(RH4). It is quite possible that a sixth key for PITs (RH thumb) would also be found on such a bassoon. A more significant question is whether or not the bassoon would have had one or more keys on the wing joint, and/or a pinhole in the bocal, to facilitate playing in the upper register. The wing joint octave key is included in the Ozi's tutor of 1787 and "was soon

“ Waterhouse, William. "Bassoon" in The New Grove Dictionary of Music and Musicians. Volume 2. ed. by Stanley Sadie. London: MacMillan, 1980 p. 273. 97 adopted in Germany, sometimes being added to existing instruments.” It is found on the late eighteenth century bassoon from Potsdam mentioned above. The earliest evidence of a pinhole in the crook comes from a 1774 portrait of the Munich bassoonist Felix Rheiner. Since Munich is very close to Regensburg, one might be tempted to assume that the bassoonists in Regensburg might also have had a pinhole in the crook. However, Waterhouse states that "the pinhole was not to come into general use until the 19th century".” In this concerto, the tessitura of the solo part is primarily in the tenor register (from G below middle C to the G above middle Q , and features many wide leaps into this register (for example, movement 1, mm. 137-140). Hence, in performing this piece a bassoonist would be greatly aided by an octave vent. It is quite likely that the soloist in 1789 did indeed have one, probably on the wing joint, and/ or perhaps on the crook.

Notated Ornamentation This work contains three types of ornament: the trill, the long Vorschlag (appogiatura, without a slash), and the short Vorschlag (grace note, with a slash).” One can again look to the tutors and treatises for information on how these should be interpreted. In so doing one will find that the various sources often disagree on this subject, and often refer the reader to

” Waterhouse, "Bassoon", p. 273.

Waterhouse, "Bassoon", p. 273.

“ Although Schacht often seems careless with which Vorschlag he chooses, this edition remains consistent with the autograph. Where changes have been made, they are clearly marked. 98 her or his own "taste". However, if one is attempting to recreate an authentic performance, one should try to recreate the taste of the musicians in Regensburg. This leads to a few central questions regarding the performance of these ornaments. With regards to the trill, one must decide: 1) whether to start on the main note or the upper neighbor, 2) the rate of trill throughout, and 3) how to end the trill, i.e. with or without Nachschlag. (Unfortunately, Schacht never indicates a Vorschlag nor a Nachschlag with the trill.) Again the tutors and treatises will show many different possibilities. Trills are used relatively sparingly in this piece, and the majority of them are cadential trills on the supertonic. As a general guideline, one may wish to perform these by beginning on the upper note, on the beat and stressed (an appogiatura), trill, and end with a simple tonic-supertonic-tonic turn. Variations to this general pattern may be used to avoid monotony and predictability. In performance of the Vorschlage , the central questions are 1) Do they come on or before the beat?, and 2) How long are they? As a general rule, 1 feel that the Vorschlag without a slash should be played on the beat and stressed, but shorter than the main note (roughly 1/3 of the main note's value.) In this way a listener can distinguish between a "small-note" embellishing appogiatura and an on-beat dissonant note written with two ordinary sized notes. (Schacht does use both. From this one can conclude that they should be played differently.) Again as a general rule, I feel that the Vorschlag with a slash should be played quickly, but may be played either on or before the beat. 99 Improvisatory/Additional Embellishment Surely a soloist of Schacht's day would have provided some improvisatory ornamentation in a performance of this piece. As Robert Levin says, "The universality of improvised embellishment... in the classical era is confirmed in period reports of concert and opera performances and in contemporary histories."^ The above sources provide numerous examples of ornamentation. Taken together, they provide a performer with a good idea of standard embellishments as well as possibilities for more unusual decoration. It should be pointed out that each of them caution against excessive or inappropriate embellishment, and often refer again to the matter of "taste". Levin provides an excellent summation of the issue of additional embellishment in classical music,

"It should be obvious to historian and performer alike that the validity of a practice depends upon the skill with which it is carried out. Ornamentation is not an external process carried out upon a piece...textural additions., are most effective when they are fully organic to a work's expressive and dramatic content - indeed, when those without a score in front of them are unaware that anything has been added at all."^

Before one can begin to answer what types of embellishments they will add, they must first determine where it is appropriate to add them. The above sources discuss this; Levin also provides a good summary of what

** ** Robert D. Levin, "Classical Era: Instrumental Ornamentation, Improvisation and Cadenzas", Performance Practice: Music after 1600. ed. by Howard Mayer Brown and Stanley Sadie, NY, NY: W.W. Norton & Co., Ltd., 1990, p. 267.

” Levin, p. 289. 100 repertoire and passages are suitable for embellishment.^ In this concerto, the most likely passages to be ornamented are the returns of the primary themes in the first and second movement. In measure 117 and 173 of the first movement (beginning of the development and near the beginning of the recapitulation, respectively), Schacht writes slightly ornamented versions of the original statements. This seems to be an indication that these restatements should be ornamented, but leaves the remainder of the actual ornamentation up to the performer. In the last movement - a theme and variations - returns of themes per se do not present themselves. The only real candidates for additional embellishment in this movement are the passages that are repeated directly. A soloist may wish to add some decoration on the repeats or vary these by means of dynamic, articulation, or phrasing. Other passages that would likely have been ornamented include those that are overly banal (for example, first movement, measures 105 and 182-83); and direct repetitions or "echoes" (first movement, measures 82-83).”

Cadenza and Eingànge As was discussed in Chapter IV, there are no cadenzas in this concerto. However, a performer should be aware of the structural moments where a cadenza could have been inserted (Movement I, measure 221; and Movement H, measure 75). Given the formal importance of these nearly- final cadences, the soloist may wish to emphasize them by means of

“ Levin, pp. 267-279.

“ Normally I would include with this list passages with a sudden drop in rhythmic activity. However, this piece contains no such passages. 101 rhythmic freedom, dynamic, and articulation. As with cadenzas, there are no instances where an Eingàng is called for in this concerto. This is due largely to the fact that the final movement is a theme and variations as opposed to a rondo.

Articulation and Phrasing As one might expect, articulations are written sparingly in the solo bassoon part. In fact, the only articulation found at all here is the slur, and somewhat sparingly at that. Naturally this means that the soloist is to articulate as she or he wishes. Here again, this is a matter of "taste"; a performer could look to the same treatises and tutors for examples and possibilities. A performer should also look to the full orchestral score to see how the main themes and motives as well as the accompaniments to the solo passages are articulated. In this edition, appropriate articulations from the orchestra have been extrapolated into the bassoon part, and identified as editorial additions. A performer should have an idea of the standard length of a note that appears without articulation marking. C.P.E. Bach wrote that their length should be half the notated value. Later Turk wrote that they should last approximately three-quarters of their full value, while later still Milchmeyer (Dresden, 1791)* and Clementi(London, 1801)* say that notes without specific

” Milchmeyer, J. P. Die wahre Art das Pianoforte zu spielen. Dresden, 1791.

" dem enti, M. Introduction to the Art of Playing on the Piano Forte. London, 1801. Reprinted New York: Da Capo Press, 1974. 102 articulation should be held full-value.^ In this autograph, Schacht occasionally employs unusual beamings which surely are an indication of phrasing. An example of this is found in measure 55 of the first movement. As Schacht rarely makes indications of phrasing to the soloist, these unusual beamings should be given due consideration by the performer.

Vibrato In his "Classical Era: Woodwinds and Brass" article, David Charlton writes, "Vibrato is not mentioned in (bassoon) tutors of this period."® This would include Ozi's tutor of 1802. However, both finger and breath vibrato are at least mentioned in flute and oboe tutors.® Finger vibrato (only) is discussed in later bassoon tutors, namely those of Berr(1836), Almenrader(1843), and Jancourt(1847, French). By its nature, finger vibrato could only be applied sparingly and on longer notes.® However, all of these tutors date from ca. 50 years after the Schacht concerto. So it is likely that the bassoonist at the premiere of this concerto used vibrato very little if at all. There are several sustained notes where finger vibrato could have been employed if this was in fact done at the time.

” Neal Zaslaw, "Classical Era: Introduction " in Performance Practice: Music After 1600. p. 213.

** ** David Charlton, "Classical Era: Woodwind and Brass" in Performance Practice: Music After 1600. p. 259.

Charlton, pp. 253-255.

“David Charlton, "The 19th Century: Woodwind and Brass" in Performance Practice: Music After 1600. pp. 416-417. 103 Dynamics Save for a single fortissimo marking in measure 65 of the second movement Schacht does not include any dynamic markings in the solo bassoon part. As with articulations, this of course means that the soloist must provide dynamics, not play without them! Indeed, dynamics should be the performer's primary means of expression. Schacht does provide ample dynamic markings, including pianissimos and fortissimos, for the orchestra. The soloist should be well aware of the dynamic indications in the orchestral tuttis and accompaniments. Schacht does a good job of thinning the texture and reducing the dynamic during solo passages. For balance, he often times marks the homs, and to a lesser extent the oboes, at a softer dynamic than the strings. Several sources, modem and historical, make mention of messa di voce, an expressive device consisting of a crescendo and then decrescendo of a long sustained note.* This concerto has several such notes, and a performer can safely assume that employing messa di voce on these notes would be historically stylistic.

Tempo The question of tempo is one of the most difficult to answer. Some of the historical writings try to convey appropriate tempo qualitatively, by describing the pace or pathos of the various markings. Attempts were also made to convey tempo quantitatively by relating it to some (semi-)constant, such as Quantz relating tempo to the human heartbeat. No system proved

” See treatises of Quantz and Leopold Mozart for historical examples. See Zaslaw, Mozart's Symphonies, pp. 473-475 for a good overview from a modem perspective. 104 satisfactory until the advent of the metronome and, hence, numeric metronome marking. (This too has its problems.) There is, of course, no one right tempo for any piece. Rather a performer must decide on tempo based upon her/his technique, musical clues, and of course "taste". Hence, I have consciously avoided suggesting metronome markings for each movement. A performer today attempting to recreate the likely tempos of 1789 would be well served by referring to the historical treatises and tutors mentioned above. In addition, several modem sources, such as those by Badura-Skoda^, Zaslaw*, Marty*, Rubin*, and Houle", provide further evidence and good insight regarding appropriate tempos. Of course, none of these sources deal directly with the Schacht concerto; below are some comments and suggestions that may help a performer in deciding upon appropriate tempos for this work. The first movement, marked Allegro, begins with a reappearing figure

” Badura-Skoda. Interpreting Mozart on the Keyboard, pp. 27-39.

“ Zaslaw, Neal. Mozarf s Symphonies, pp. 489-501.

“ Marty, Jean-Pierre. The Tempo Indications of Mozart. New Haven: Yale University Press, 1988; and "Mozarf s Tempo indications and the problems of interpretation" in Perspectives on Mozart Performance, ed. by R. Larry Todd and Peter Williams. Cambridge: Cambridge University Press, 1991, pp. 55-73.

Rubin, Emanuel. "New light on late eighteenth-century tempo: William Crotch's pendulum." Performance Practice Review. Vol. 2, no. 1, Spring 1989, pp. 34-57.

" Houle, George. Meter in Music. 1600-1800. Bloomington: Indiana University Press, 1987. 105 of thirty-second note triplets.® The figure is step-wise and slurred - in other words, in the easiest possible manner of playing - and has the effect of a "rip". One may see such a figure and conclude that the tempo should be on the slow side of allegro to allow these thirty-second notes to be played and heard cleanly. I would caution against this reasoning. The figure is a gesture; it can be seen as a sixteenth-note dominant to tonic pick-up which has merely been filled in step-wise. It is not crucial that all three notes be heard individually, and to do so would mean taking an unreasonably slow tempo. For other reasons, I feel that the tempo should not go too fast First, the opening theme has a stately character to it which would be lost at too fast a tempo. Secondly, the orchestra has important material which would be quite difficult and Likely muddied if the tempo were too fast, specifically the violin parts in measures 105-106 and the violin 1 part in measures 187 and 190 which contains sixteenth-note triplets. The second movement is marked Andantino. It unclear whether Schacht means a tempo somewhat faster or somewhat slower then Andante by this.® Although the second movement contains a fair number of thirty- second note passages, it would be a mistake to assume that this means the basic tempo should be so slow that the eighth note pulse becomes dominant. Marked in 2/4 time, it must keep the feeling of two-to-the bar; it will lose its charm if the meter is felt in four. The tempo of the third movement poses real questions. As a set of variations, it begins simply, employing mostly quarters and eighth notes in

® It is uncertain whether these are to fit into the time of a sixteenth-note or an eighth-note, but 1 conclude that they do indeed take the time of a sixteenth. See "Rhythm" below.

® See Zaslaw, Mozart's Symphonies, p. 494-495. 106 the theme. However, as the variations progress eighth note triplets and then sixteenth notes become more prevalent The difficulty is in finding a tempo which is neither too slow at the beginning nor too fast at the end. (No tempo changes are indicated.) Of course, this latter point will depend largely on the technique -tempered by taste where necessary - of the soloist This movement is marked allegretto, so it would follow that the tempo should be slightly slower than the tempo of the allegro first movement.

Rhythm For the most part, the performance of the rhythms in this concerto are as clear to a performer today as they were in 1789. There are but two issues that need to be discussed. The first concerns the thirty-second triplet of the first movement mentioned above. Mathematically, a thirty-second triplet is equal in time to one sixteenth note. In this movement, it often appears as if this triplet should comprise half of a beat (equal to an eighth note) rather than a quarter of a beat (equal to a sixteenth note), as in m. 10 (Figure 38). 107 OWI I': — j - 0 ^ 2 •4 / IW. r ; ^

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It appears here as if the beginning of the triplet in the violins should begin on the second half of beat two to synchronize with the eighth note in the other parts. However, I feel that this motive should always be played as true thirty-second note triplets (equal to a sixteenth note). There are three reasons for this. One, Schacht always bothers to write three beams every time this motive appears and in every voice. Two, Schacht does write true sixteenth note triplets when he wants them, as in the Violin 1 part in mm. 186-189. Three, true thirty-second note triplets would have more musical character and excitement. If the triplet is to be played in the time of a sixteenth, this would mean that the triplet would not be synchronized with the eighth note on the and of two. It may be historically accurate to employ double dotting here to compensate; that is to play the eighth note as a sixteenth note pickup to beat three. While double-dotting is normally 108 associated with performance practice of the Baroque, it was still used at this time in some cases.^ The other rhythmic question that needs to be asked is this: Should dotted eighth note-sixteenth rhythms appearing simultaneously with triplets be adjusted so that the sixteenth is synchronized with the third note of the triplet? (Figure 39).

Figure 39: Rtt Schacht 30, mov. 3, m. 59.

According to Eva and Paul Badura-Skoda, this type of notational rhythmic inaccuracy is still found in the music of Mozart and should be adjusted by the performer." If this is true, then certainly it should be done here. As can be seen from Figure 2, in this edition, the rhythm in such instances was left as in the manuscript, but an editorial ossia has been added.

See Badura-Skoda, pp.47-49.

Badura-Skoda, p. 50. Their specific examples are drawn from K. 450 and K. 482 which date from 1784 and 1785 respectively, just a few years before the Schacht concerto. CHAPTER VI EDITORIAL PROCEDURE

Orchestral Score The full orchestral score found in Appendix A was prepared from a single source, a microfilm copy of the autograph score* housed in the Fürst Thurn und Taxis Hofbibliothek in Regensburg, Germany. The autograph copy has no separate title page. At the top of the first page of the score is written: 8 /Concerto di Fagotto/Schacht 1789"

The quality of the microfilm is legible. However, due to bleed-through and other deterioration of the autograph, many passages required careful examination to determine what was truly on the autograph. There were several passages where this could not be done with absolute certainty. These instances are noted in the critical commentary. The autograph copy comprises 49 sides of a page (25 two-sided leaves). Most pages have two systems per page. In the fifth variation of the third movement the scoring is for bassoon and strings only. Here there are three four-stave systems per page with the violins sharing one staff. In editing the orchestral score, it was my goal to create a critical edition;

' Listed as Rtt Schacht 30 in Haberkamp. Haberkamp denotes this as being an "autograph" not merely "manuscript". Hence, we know that is in Schacht's own hand.

109 110 that is, to create an edition where the composer's notation is clearly represented and editorial markings clearly identifiable as such. Editorial markings or changes are relatively few and only where justified. Some changes were necessary to reflect modem notational practices or to clarify short hand notations. The original score order is: Fagotto Solo, Violin 1, Violin 2, Oboe 1, Oboe 2, Comi (1 and 2 on same staff), Viola, Basso. The order has been changed to accepted modem score order, and names changed to modem English, like so: Oboe 1, Oboe 2, Homs 1 and 2 (same staff). Solo Bassoon, Violin 1, Violin 2, Viola, Cello/Bass. The autograph marks the bass part "Basso" and refers to it later as "Bassf'. This has been changed to Cello/Bass to reflect the intended instrumentation. The autograph contains many short hand notations; i.e. "Col Bassi", "(with) Violin 1", etc. These have been written out in the score without comment, retaining all dynamics and articulations. Very often the viola part was marked "with the bass". This was done in a variety of ways, such as inserting a bass clef with ditto marks ("), "8va del B", "8va Basso", "Col tP", etc. Normally this was perfectly clear, though there was a question as to the intended octave of the viola part. In these instances, the part was written in the more likely octave (as best as could be determined) and the passage was noted in the critical commentary. On few occasions it appears that the viola should be playing with the bass, but no indication is noted. In these cases, the bass part was doubled in the viola but placed in brackets and noted in the commentary. Beaming in the autograph is occasionally unusual and seems to 111 indicate phrasing, as in movement I, m. 7. For this reason, beaming has been kept identical to the autograph in this edition. The autograph contains relatively few articulations. By far the most common is the slur ( ---- ^ ). There were many instances in the score where a slur was obviously intended but not marked. These have been added into the score marked in dashes ~~ ^ ) . Where the addition of these dashed slurs is obvious by analogy, and the analogous slur is clearly identifiable, no additional comment was made. Where this is not the case, explanation is given in the critical commentary. In many cases the exact beginning and/or ending point of a slur is ambiguous. However, these could often be deduced by analogy. In these cases, the slurs were entered into the score without comment. Where the intended beginning or end point could not be determined with certainty, the slurs were entered into the score using the most likely or logical beginning/end point. These passages are noted in the commentary. When a tie was found under a slur, the beginning or end point of the slur needed to be altered to reflect modem notational practice, like so:

Autograph Edition

These altered slurs are noted in the commentary. The only other articulation marking that Schacht employed in this score is the stroke ( I ). Where missing, these have been added, marked in 112 brackets. In most cases the reasoning behind these additions is clear. Cases where there may be some question are explained in the commentary. Missing dynamics have been added, marked in brackets. When the justification for these additions is obvious, no mention has been made in the commentary. In the few instances where the addition of dynamics is questionable, comment has been made. The autograph contains many redundant dynamic markings. These have been retained in this edition, but placed in parentheses. In many cases Schacht marked the winds at a lower dynamic than the strings. Though unusual for the day, this was apparently done intentionally for proper balance. Hence, these dynamics have been left unaltered in this edition. Obviously missing accidentals have been added in brackets without further comment.^ Where there are unusual circumstances or a possible question about the addition of accidentals, comment has been made. As with dynamic markings, the autograph contains numerous redundant accidentals. These have been retained, but placed in parentheses. The autograph contains only three types of markings for ornamentation: the appogiatura (grace note) with a slash (^), the appogiatura

* * It appears that sometimes accidentals are "missing" because the rules pertaining to accidentals that Schacht was following differ from modem rules governing notation of accidentals. For example, in Schacht's writing if a note with an accidental appears directly on either side of a bar line, the bar line did not cancel the accidental. 113 without a slash and an indication for a trill/ In some cases appogiaturas

with and without a slash appear simultaneously in different parts (i.e. in violin 1 and violin 2). In these cases, the more likely choice has been retained, the other altered to match and placed in brackets. These instances are noted in the commentary with justification for the preferred choice given. In modem notation, appogiaturas and grace notes are usually found with a slur attaching them to the main note. However, in the autograph the appogiaturas are written without such slurs. This feature (no slur) has been retained. The solo bassoon part in the autograph is largely devoid of articulations and dynamics, leaving these to the performer's interpretation. A few dynamics and articulations have been added in brackets or dashes. These have been done sparingly and only to inform the soloist of important motivic articulations or structurally important dynamics. "Solo" and "tutti" indications have been added in brackets, as have dynamics in the tutti sections.

Solo Bassoon Part. Critical Edition This bassoon part matches the orchestral score exactly. It is intended for a performer who wishes to make interpretive decisions based upon the composer's markings free of editorial intervention.

* * This marking looks usually like a plus sign (+), but occasionally more like a lower-case "t". (Examination of the autograph makes it quite clear that these are not two distinct markings.) In this edition all trills have been marked with tr. 114 Solo Bassoon Part. Practical Edition

This edition of the solo bassoon part contains editorial suggestions for articulations, dynamics, phrasings, and embellishment Editorial markings are not necessarily identified as such in this edition - to do so would be overly cumbersome. One can compare this edition with the critical edition of the bassoon part and/ or full score to determine which markings are original. Editorial markings are intended to be historically stylistic as discussed in Chapter 5. In this edition, all Vorschlage are still marked with eighth notes. Those with a slash are to be played before the beat; those without a slash on the beat and stressed. To some trills a Vorschlag and/or a Nachschlag has been added. It follows that where these are absent, the trill is to be played without them. The intended purpose of this edition is twofold. One, it is intended for student bassoonists who are not yet prepared to make informed interpretive decisions from an critical edition. Two, it is intended to provide ideas and/or demonstrate historically stylistic interpretive possibilities to the more advanced bassoonist. CHAPTER Vn CONCLUSIONS

There is a pervasive opinion that the solo bassoonist suffers from a lack of available repertoire. While this is true to some degree - especially when compared to our reportorially well-endowed brethren such as the piano, violin, and cello - this opinion is largely misguided. In his Bassoon Bibliography. Bodo Koenigsbeck' lists (by my best reckoning) 1037 works for bassoon and orchestra, and approximately double that number of works for bassoon and keyboard! So why the opinion of the dearth of repertoire? There are a number of answers to this question. One, bassoonists perform as soloists less often than other instrumentalists. When they do get a rare chance to perform in front of an orchestra they usually choose or are asked to play one of the few well-known bassoon concertos - most often Mozart. Two, of the works listed in Koenigsbeck, the vast majority are not by well-known composers. Three, the majority of these works are not widely available. Four, to a large extent bassoonists and teachers have performed and taught the well-known works to the exclusion of others. This dissertation can be seen as one more small step in the ongoing effort to bring to light the vast unknown repertoire of the bassoon. But this begs the question "Of the one thousand or so possible works, why this

' Koenigsbeck, Bodo. Bassoon Bibliography. Monteux: Musica Kara, 1994.

115 116 particular piece?" For accomplished bassoon performers, this edition makes available a fine example of a hitherto unknown classical bassoon concerto as an alternative to those that are often played. The body of the document provides information to assist them in understanding the historical, theoretical, and performance aspects of the work. It is hoped that this will lead them to a better understanding and performance of the work, and perhaps to inspire them to approach other works in a similar fashion. Perhaps the greatest benefit of this document will be for teachers and students of the bassoon. It is the often case that teachers, and hence students, work primarily or even exclusively with the well-known classical bassoon solos - the concerto of Mozart, the two solos of Weber, and perhaps the Hummel concerto if feeling adventurous. These are among the most mature, sublime, and difficult works of the entire repertoire and present musical and technical challenges that the young bassoon student is probably ill-prepared to meet. In addition to being worthy of performance by a professional bassoonist, the Schacht concerto presented here provides an excellent piece for a bassoon student "to cut his teeth on" before tackling a more advanced work. There are many features which make this concerto suitable for such a purpose. One, the range extends only from F to g% avoiding the more difficult extremes of ranges. Two, there are no cadenzas or Eingange. One reason for not wishing to assign a cadenza to a bassoon student might be that the student is still learning to play in tempo and it may not be wise to give them something which must be played out of tempo. Three, the technical passagework is largely conjunct making it more accessible and better practice 117 for a student still developing basic finger technique. Further, articulations may be chosen in these passages to best facilitate the students development of tonguing technique. Four, this piece does not have any of the virtuosic wide leaps of two octaves or more found in the more advanced concertos. The lyrical second movement is especially conjunct, containing only a few leaps, the widest of which is a minor sixth. For the student who is developing control and nuance in lyrical playing, it is especially helpful to not be encumbered with the technical difficulties of wide leaps between registers. The outer movements do contain frequent leaps, but these are usually an octave or less. Found usually in eighth-note passages which may be either tongued or slurred, these are very good preparation for the faster and/ or wider leaps prevalent in other concertos. Lastly, this concerto presents a good forum for discussion of broader issues such as classical style in general, interpretation of written ornaments, additional embellishment, the study of harmony, and the study of musical form. While this document will surely be of greatest interest to bassoonists, it may also be of use to people with broader interests as well. There is a current growth of interest in the performance of music from historical periods. Largely because the music of the well-known masters is for the most part readily available in print and recording, attention has increasingly been directed towards lesser-known works. This includes an interest in the people who composed and performed such works, the historical setting in which they were created and performed, the theory and composition of these works, and the manner in which they were performed. The body of this paper makes a small contribution in each of these areas. Schacht himself is a composer worthy of greater attention, which he is 118 now beginning to receive as discussed in Chapter I. Thum und Taxis enjoyed an excellent musical reputation and today provides a good example of the musical activities at the Imperial courts. While it is perhaps not as well known to musicians as other courts, it certainly deserves to be. Further, the Fiirst Thurn und Taxis Zentralarchiv-Hofbihliothek contains a wealth of music and information, much of which is not available elsewhere. It is hoped that this document will make a significant contribution in the dissemination of information about Theodor von Schacht and Thurn und Taxis. APPENDIX A

THEODOR VON SCHACHT: CONCERTO DI FAGOTTO (Rtt SCHACHT 30) FULL SCORE: CRITICAL EDITION

EDITED BY DOUGLAS E. SPANIOL 1998

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f — - f r fp / 3 , n , 1 £ = £ ==LFrf *- J J p •pia. |j ~ > ^ \ n J

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A — - , _ 1. , ■ -■ t - r- ÿ = ^ h- : 1 -2^ t.. ^.==1

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vu.

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[/I

[/]

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r r ' If r I r r f £-f i r r r r r r 166 # VT

[Miol

Via.

224 225 22# 227 22# 229 230 167 I

aa ZM au 168

™ / p

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i j s n

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IP]

V b.

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2S4 207 20 0 APPENDIX B

THEODOR VON SCHACHT: CONCERTO DI FAGOTTO (Rtt SCHACHT 30) SOLO BASSOON PART: CRITICAL EDITION

EDITED BY DOUGLAS E. SPANIOL 1998

172 Solo Bassoon Concerto Di Fagotto 173

Theodor von Schacht, 1789 Edited by Doug %>aniol Allegro [Tuttil È m [/] QQ J |j J J # -r r-f- ifJ

J-j-J If Ir ~

9 1 0 [ / ] 11 Tâ

a <» & a A - f^ -f -|f ■■ f Z r.

13 14 15 16 17 l^ -lf f If f f'T'T* f *4f ) T-m J t r * 18 19 [ /> ] 21 [/^\PP\ ] 20 2 2

-e- -e- =z=

23 [apococrescj 25 26 24 27

g IXC 3x: ■i y . j 29 31 28 39 m

ts es 3S IS a [OIOS] OS st SHXD1.iki.

e» 9» S» n JGT

se w ee [d] ? . 4 «------et- H2:

9e ze [ z = > ] * ce ze

# jtl h

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^ ------^ ^ m ## n lrirfftQ jrrfft 63 64 65 58 67

, r — 4— 4, f f": r» C_ r f f i f L i f f i i f ------> ------1 ------,------^ ------1

69 70 a ______[ ^ ] . * .

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t & i r , T— r r f . f i

73 74

^ L A f - f - f ; M — — 1 [ / 1. [-[lU -W aW - (L L r - I ^ ' 7 5 76

J T ' f f - t — f — = ------1------1 ------1------1 -^ — ^ L _ W ------1 7 7 7 8 7 9

-0► •#• ■ f - «■ f - Ÿ a j Æ ■ '" ■ '■■ ' - — f - m - = W - [_L d J :— « — W — - 4 80 82

^ n

r a t|

zoi 101 001 j'j ji ifOw # 001

88 VO oo

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119 [•] - ~ f - i ffîr 119 120 121 I 122 123 124

125 #—»

125 126 127

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130 fL #

130 132 178 133

m r n r i m - ,r # i'aS’ 134 135 136

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140

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143 144 ir 145 rnitti] M Ê n — —yr-

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149

. à i

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153 J . . . J J j iJ - * r i ir l' T i 153 P 155 154 156 #- [solo] - J >— f — ^ - “— F i L - t - “-p---- ■-r- J i

178 UIZJ ^ |-k #------g l l g l . 1 g F T r . > q ------0------a j f ^ 1 a g 178 179

180

180 181 182

183 - f T »- 1 8 1. i — !■ ------u ______■> F f r r t f r r i - i - J r k l W - 4 4 - L T r - - - - ! 184 183 180 185

185 186 187 188 ♦ Ÿ #-. Ÿ -# -6 ^ ^ ^ « . r ------H ^ m ------"FriJ* - 4 ^------1 ^ f- w = J = j - L L 188 89 k r 102 ■#■ - f -e- — W---- f ' H------9---- I j U l j = W = 4------h = ------k U r W u ^ y 194 192 193 195 li> > -■B)->^^tfP f e r r a i ® R | - 1 1 " " J -U«- 195 3 196 197 198 199 I S |) w tm P ^ f — k— =---- -73— ^ -- g « F- rp g ----^ J J } —r - J—Î ------199 200 201

11 3 1 1 - ■ > - — ~ l f ---- f 11'l» V *ir r 1F— T“ ^ r — -k*-^e—È_F_ ■1 — 1 -H—i z z i : - -- r 203 204 205 >06 207 208 Y f k p r r f f g ------■ J . - ^ r r p j ^ E f f l 208 210

211 tr «» ■ •1 . 1 ------iHH ■■f--- ^------^ = z £ : & b ---- ^ -- 4 — 211 212 ^ 213 214 181 215

216 215 217

218

"«-I" I" ^ -r 218 219

228

228 229 230 231

232 r \ ;} i p p - p y ^ r f r if m 232 234 235 236 233 Bsn. Solo Romanze 182

Andandno [sob]

m m m

M 10 11 12

IE $ 13 14 [P] 16 17 IS

18 * |J~] i[_f'[j* 18 [ y ] C / • ) 21 22 19 ossia - r .

[solo] 183

p*"- p— f k tn -p l, : r _ f - f ~iP - r J p f f F _r 1 - W j U = & j 28 29 <94

35 ^ 3

0 W . r ü r r ; Î a g ^ n f ^ i 41 42 43 45

:6 c

g 46 47 48 49

50 rnitti] ^ ^ 1# # = , p f f q -■— 0 — h— Bt #— m----- J i U l — — T r p r r ê f r f i 5 = « B - : ' $ -J------

5 3 184

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[ r r r ■• p iGCT i i 59 f 61 62 63 60

y 1, 1' E :: j :

6 8 69 70 71 72

g É # 73 74 75 76

77 [Tutti] * 0 77 78 79 80 Bsn. Solo Variazioni 185 Allegretto [solo]

W ' \ r ~ l J

a^ 1 ^ , rnitti]

J z 4 M[j>z i z ^

1 / 1 9 10 É

10 11 1 2 13 14

15 [solo] a---- $ I i Î 15 16 18 19 17 20 i g Î 20 21 22 23 24

25 26 27 28 29

--Î 30 31 32 33 34 186

m $ 35 36 37 38 39

Î 40 41 42 43 V arl 0 [solo] Î [/] 46; 47 48 3 3 45 49 50

so 51 52 53

^ L T f I f m $ 54 55 56 57 3 3 58 #• ■#• — ■---- F—#---- 0^ ... t - 1- ■- -'iri/'-i^rfi -U------U I*** --- iiiii il--- 58 59 60 61 62 #- # —“------JL:------L----- ::w m r 62 63 64 65 66

[/^] f---...!= 7 ig «, p If^r'Ff t r r :|: 1 r II—1 dztl til—L '^-*^-'f ^ f-Hf f 67 68 69 70 71 187

72 S m

IB ^ r. I fjif I Fif I 72 73 74 75 76

79 80 77 78

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93 rB -9 -l ------a ------0— ------2 ------

9 9

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99 102 100 101 1 0 3

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103 105 106 107 1 0 4 -A------f i . 188 ' ----- 1— 9* r ^ = i t . — F— ^

108 P 110 111 112 109 1 1 3

i î

113 114 115 116 117

Var m

128 129 130 131 132

1 3 3

133 134 135 136

1 3 7 [solo]

137 138 139 140

141 —- * r f - — — 1 ^------1* C J ■ ■ -!----- î ---- 1 4 1 1 4 2 1 4 3 1 4 4 189

145

145 146 147 148

149 J > ] i u 3E m 149 150 151 152 153 154

154 156 157155 158 hjtr-T y iK r if f if -f [tFr'rri

159 160 161 162 163 164 rnitti] $ 164 [/] 166 167 168 Var IV 165 169 [solo]*

169 170 171 172 173 174 »------*- m— f m— 1 »------>------r ------?------r - ^ 9 ------Î ------æ 174 175 176 177 178 185 if $

1 8 5 1 8 6 1 8 7 1 8 8 1 8 9 190 190

190191 192 193 194 195

196 197 198 195 199 e g 199 200 201 202 203

204 4L M. TCJOL

204 205 206 207 208

209 mtti] P — m i \ r \ $

209 2 1 0 211 212 213

214 VarV [solo]

214 215 217 218216

219 & I ^ V W " Ir ^ ii ^

219 220 221 222

223

Î Î

2 2 3 2 2 4 2 2 5 2 2 6 227 191

...... : -| j ------; ------7 ------4 ...

227 228 229 230 231

231 232 233 234

235

i î 235 / 237 238 236 239

239 240 241 242

243

243 244 245 246 247

248

f - . , P 1 | | * : r £ g . f r r ^ l S 1 U rTi[;Li:i 248 249 250 251

252 Var VI rnitti]

- i 252 [ j y ] 254 255 253 256 tr V. ■' [ .B l— B - . y F-w ^------= = i k g - s

2 5 6 257 258 259 192

273 274 275 276 277

F ^ T r > * l ---- * P f F 1 iT t 1 ■ ^T f ' t ^ = £ £ i N— :— f -■: 1 278 280 277 279 281 IT

------■ * = ' = f ' V 1 ' — -■1 i r " ------— - 1 1 — w a t a - - s 281 285 286 287 288

288 289 292 293 294 m. 296, Bm. ossia

[ j s n 295 t r 3C

295 296 mr f f \ 298 299 300 [ f i n e ] 297 APPENDIX C

THEODOR VON SCHACHT: CONCERTO DI FAGOTTO (Rtt SCHACHT 30) SOLO BASSOON PART: PRACTICAL EDITION

EDITED BY DOUGLAS E. SPANIOL 1998

193 Solo Bassoon Concerto Di Fagotto 194

Theodor von Schacht; 1789 Edited by Doug %»niol Allegro! J= c. 1 1 2 ] r n itti] m [/] Œ

* » f f if f i f ' - # ¥ * « £

13 14 15 16 17

S [f] « [/y i/y] ] 2 0 2 2

:r * 23 [a poco cresc] 25 26 24 27

W-- -f-f xc HZ

I 28 29 31 195

i 32 33 35 37 36

39 40 [ f ] 42 38

j" , W - 1 ,) i

f f 45 43

50 47 « 49 [solo]

Î m a 51 52 53

III j^ T n 55 56

« a 59 60 , ^ 61 62 196 0 [Dim]

m p

»■ # 4► ■ ■f.+[TT J n r J 1 /$ /T /? /T 1 ■-4-I -J i|J J— 1^^^— ^ 3 80 81 82 *- P ^

-h *t — 7 3 , / W ^ r ^ - f r ^ - u ^ i r 1 ^ = y 83 ^ m p ®® 197

tr y *' J)7.p & y = g 89 90 88 dolce

103

104 103 105 3H

fP 105 / 105 107 198 108 rnitti] -f #- P - . .a: 3 * ~ '3 "— -JtiZ d M

108 109 110 111

c m [ 1 1 /

116 ^

122 123 124

125 F5

125 199

1 3 3

g y X C ü iriS'i' M

1^ ’3^ cr«c. --J“— 136

153

m # #—M» # i - H F" ^ ir-4" -F- i 153 p 155 154

» -^Kr j — > f ---^-----'L-t -l■—t - F-p— L r J > > ■"»— b » » ---- î ------f — — 5— f e M * » » “ f g l 156 157 1 5 8 3 f 200

m m 201

185 a

188 » 1 — p i #- -* m — ^ ------— - - # - 7 4 ------|i - y j t t i w m 188 1119 kr 9 192 » p • - i r —f - F f " - - = ------— ■ ■ ^ ^ i i i i i h h n w 1lOO

195 dolce

195 3 196 197 198 P 199 ______

r r r c f f p , . — ^— = — 7*— —# p -J—Î------t = ^ 201 199

GmI cri) x f ------f - k # — f — r “ V — r izi-l[e—L_P— - 4 — - — ■ 1 1 _ 203 204 205 206 207 m p - ‘= z z PP < z 208 o ~-£ V /hpT T f \tfm . —

208 ^ W f u v 209 210 _ _ _ ^ / P 211

J |■ - •r* ^ ' 1 f - 1 i a j T - Z j P - - ; — T 211 212 y a s s y s 213 214 / 202 215

pocont a tempo

cresc.

^ } i r-;+ ------+— - -4* ------4*------(•— . # f F i f : 4- . / _y Sr _____ G!_____ J- ■1 d 229 232 231 233 M t f f z i f . 1 : l y A ---0-- 0--- — >-----K-Ê---- - 1 =. J - «1 ~ ^ = ^ f f Î z l ------^ 4 - 1 233 234 235 236 Bsn. Solo Romanze 203

Andantino [J= c. 58] .[solo]

m p -'u ij ilLu ' .TTi

$ m Î 10 11 12

13 mini) $ 13 14 [ f ] 16 17 15

18 r&l'if f ) I J j~^ |[j.:|*_:p i f C è r f I 18 [f] if)(/) 21 22 19 2 0 204

32 a m

36 p cresc.

ÎH ^ dolce

i‘°'^7 r rrrif i r rrrnii iijiu'ilD i 41 42 43 44 d4 45 mp P 7np

46 A c grT~jg"^ m

46 ____ 47 48 49 _____

50 1 AUWj — — —■■ 1 r rT rr/ffi^l -^-»-^---F|f-----0-----h----- m-----#----- ■•I -#------

53 205 lE l $ $ m 54 55 56 [/] [/] 57 58 [solo] 59

\ Q j . ^ I Ê = = P

59 p 61 62 63 / P

H 4

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288 289 293 294 m. 296, Bsn. ossia g [jon 295 rmtü] ^ — - * II 2 9 5 2 9 6 [Ær ff\ 2 298 9 8 2 299 9 9 300 [fine] 297 APPENDIX D CRITICAL COMMENTARY Movement I General: The autograph has a D.S. at the end of m. 223 which repeats mm. 40 -52 inclusive (except beat 4 in m. 52). In this edition, the D.S. has been written out creating mm. 224 - 236.

General: There is ambiguity concerning the three thirty-second note triplet motive which begins the first movement and recurs throughout the movement. See Chapter V. m. 2 Beginning and end points of slur in violin 2 and viola unclear in autograph. m. 2 p added in violins to match other instruments and to reflect change to dolce character. m.3 Violin 1 & 2: Beaming has been changed to make it consistent with m. 7, etc. mm. 10-13 Octave of viola part is uncertain. The higher octave was chosen largely because A2 in measure 12 would be lower than the viola's range. However, choosing the higher octave does make for an unusual skip down between measures 13 and 14. m. 33 Horn 1: Grace note added by analogy (oboes). m. 35 Violin 2: slur added by analogy (violin 2, m. 37) mm, 37-38 Viola part missing in autograph. m. 43 Oboe 2: slur added by analogy (violin 2) m, 45-46 Violin 2: slurs added by analogy (violin 2, m. 46, beat 1)

214 215 m. 46 Oboe 1: trill added by analogy (violin 1). It is uncertain whether Schacht unintentionally omitted this trill indication, or if he did not want the oboe to t ^ on that note. mm. 55-61 It is uncertain here whether the oboes should be resting or should be playing in octaves with the violins, as in mm. 53-54.

At the pick-ups at the end of m. 52, Schacht marks Oboe 1 " 8 ^a V i^ao» Oboe 2 V2^°". There is no further indication in the parts until m. 62 where the oboe parts are written out. Schacht normally leaves measures rest blank, and would normally cancel a "with violins" by marking the first measure of rest with a whole rest, then leaving subsequent measures rest blank. Due to the change in dynamic and texture and the entrance of the soloist in m. 55,1 surmise that Schacht did not intend to have the oboes playing in mm. 55-61 and simply forgot to cancel the "with violim". m. 54 In the autograph a p appears on beat three in both the viola and bass parts. Another p indication is found on the downbeat of m. 55 in these parts. Because there is no p in the violins nor oboes at this point (the p in the horns is for balance with the strings), 1 feel that the p in the viola and bass should be delayed until the downbeat of m. 55. m. 57 Violin 1: The note on beat three is obscured on the microfilm, but it is almost certain that this note is an A. m. 57 Violin 1 & 2: the slur markings in the second half of the measure are unclear and seemingly inconsistent. This slur has been added by analogy (bassoon, m. 57; violins m. 5) m. 54 Bassoon: slurs added by analogy (violins, m. 6 ; bassoon, m. 58) m. 55, 59 Bassoon: stroke added by analogy (violins, m. 3)

mm. 62-65 Viola: octave is uncertain; marked " 8 ^* Basso" in autograph. Lower octave chosen so that the viola would not be higher than the violins in mm. 63-64.

mm. 74-75 Viola: octave is uncertain; marked " 8 ^^ Basso" in autograph. Choice of higher octave based upon viola part in m. 76. 216 m. 78 Viola & Bass: p appears on beat 1 in autograph; moved to beat 3 to match violins. m. 79 Bass: second half-note does not have a slash in autograph. Slash added by analogy (m. 64). Viola part is with the bass here. mm. 84-85 Violin 2: Microfilm unclear in bracketed passage. m. 98,100 Bassoon: slurs added by analogy (bassoon, m. 61; etc) mm. 98-101 Violin 1 & 2: Beginning and end points of slurs unclear. m. 104 Bassoon: The accidentals on C and B do not appear in the autograph. The C# in beat one has been added to maintain the motive from m. 103. The C and B in beat three must both be natural because this is leading away from d minor into an important cadence in C major. (The C and B are the variable sixth and seventh scale degrees in d minor.) m. 104 Bassoon: Slur added by analogy (violins) m. 104 Viola & bass: It is debatable whether the rhythm on beat 4 should be played as a true dotted eighth sixteenth or altered to match the triplet subdivision in the other parts. m. 105 The dynamic indications at this point are unclear. Violin 1 has a / a t the beginning of the bar, followed by a p on beat 2. (Violin 2 is marked "unison (with violin 1)". The basses have an/p on

the downbeat. (Violas are marked " 8 ^® B(asso)". The winds, including bassoon, have no dynamic indications. m. 108, 100 Oboes & Violins: slurs added by analogy (m. 79) m. 110 Oboe 2: There is some question as to whether Oboe 2 should be playing with violin 1 or violin 2 at this point In m. 109, both oboes are marked "Col V. 1^^°". Violin 1 & 2 are in unison in measure 109, but break into harmony at m. 110. It is typical orchestration in this piece to have oboe 2 and violin 2 doubled, and they are indeed doubled in mm. 111-114. Therefore, it seems that Schacht intended them to be doubled in m. 110 as well. m. 116 Viola & Bass: It is unclear whether the p is on beat 1 or the and of 1. The latter choice seems more likely. 217 m. 119 Bassoon: Beaming has been changed to make it consistent with m. 55, etc. m. 122 Bassoon: slur in first half of measure added by analogy (bassoon, m. 58; etc) nun. 122-124Bassoon: Slurs added by analogy (bassoon, m. 118) m. 127 Oboe 2 & Bassoon: Slurs added by analogy (oboe 1, m. 127) m. 127-128 Horns: Autograph has a slash through the hah note stems indicating four eighth notes. The motive in m. 126 (horns) and mm. 123-24 (violins), and the presence of the tie into m. 128 suggest that the slash is in error. m. 134 Strings: Slur markings are unusual, but this appears to be Schachfs intention because they are consistent. m. 135 Bassoon: slur added by analogy, (bassoon, m. 134) m. 136 Violin 2: Autograph has a Bb for the last eighth note. This has been changed to a C#. m. 138,140 Violin 2: Slurs added by analogy (violin 1, m. 138,140) m, 141 Violin 1 & 2 have a quarter note on beat three in the autograph. This has been changed to an eighth note to match the rest of the ensemble. m. 141 Oboe 1 & 2: Slurs added by analogy, (oboe 1 & 2, m. 142) mm. 143-44 Bassoon: Slurs added by analogy (violins). m. 145 Viola & Bass: p in autograph appears on beat 3. It has been moved to beat 4 to match the violins and to coincide with the entrance of the bassoon. m. 147 Oboe 1 & Violin 1: Slur added by analogy (viola, m. 147; oboe 2 & viohn 2, m. 148; oboes & violins, m. 5). (Oboe 1 is marked "Col V. 1" in mm. 147-153) m. 147 Viola: Slurs in the first half of the measure are unclear in the microfilm. They have been deduced by analogy (viola, m. 149). 218 m. 150 Violin 2 & oboe 2: Slurs added by analogy (violin 2 & oboe 2, first half of m. 148). (Oboe 2 is marked "Col V. 2" in mm. 147-153.) m. 167 Viola: Autograph is missing slash on the half note on beats 3 and 4. m. 169 Oboe 2; first note is an octave lower in autograph. Examination of the autograph shows that this is obviously an error due to a page break and short hand notation. m. 172 Oboe 1 & 2: Grace note is missing in autograph. m. 174 Bassoon: Grace note is missing in autograph. m. 175 Oboe 1 & 2: The autograph has a slur connecting the quarter notes on beats 2 and 3. This is inconsistent with the violins at this point and with similar spots such as m. 69. mm. 180-82 Violin 1 6 2: The rhythm in these measures IS as it appears in the autograph. (A slash is not missing on beats 3 & 4). m. 187 Violin 1: the autograph has ^ ^ on the and of beat one. this has been changed to / < f to match the three other instances of this figure. (-W mm 188-89 Horns: it is unclear whether Schacht intended these to be played by one horn or two (a2). For dynamic reasons, it has been

marked 1 °. mm.191-92 Ditto. m. 192 Viola: Slur added by analogy (bass). m. 195 Viola: Autograph has a slash through the second half note. This has been removed to match the rhythm of the other string parts. mm. 204-5 Bassoon: Slurs here are as they appear in the autograph. These are different than when this figured appeared in tfie violin 2 part in m 37-38. It is not certain if this inconsistency is intentional or not. m. 212 Bass (& viola): A p indication appears on beat three of this measure. This is inconsistent with the rest of the ensemble and has been removed. Another p appears on the downbeat of m. 219 213 in the bass (and viola) part. (The viola is marked with the bass at this point.) m. 215 Oboe 1: Slur added by analogy (oboe 1, m. 216). m. 216 Bass: Slur added by analogy (viola, m. 216). m. 220 Bassoon: Slur added by analogy (violin, m. 220). m. 220 Viola & Bass have a quarter note on the downbeat, this has been changed to an eighth note to match the violins. m. 220 Viola & bass: Slur on beats 3 & 4 altered to reflect modem notation. m. 236 Tutti: Fermata may be taken as a “fintf' indication rather than as a hold.

Movement II

General: The slurring over the below motive is inconsistent and is given in the following two ways:

For this edition, the first of these has been chosen, but a case for the other could be made equally well.

General: The horn part in Bb should be played down a step, not a ninth (alto horn, not bass horn). Evidence for this can be found in mm. 36-38 where the second horn would be below the bass if the part were played down a ninth. m 21 Oboes, Homs, violins: A slur has been added by analogy (m. 59). m. 22 Bassoon, Viola, & Bass: Slur altered to reflect modem notation. m. 23 Oboe 1: An ossia has been provided here to allow the oboe to continue playing at the octave with the violin. It is clear that Schacht chose to deviate from the melody in the oboe part for concerns of range and difficulty. Today, this passage does not present these concerns for an oboist. It is left to the performer's discretion which version they would rather play. 220 m. 24 Bassoon: There is a mark in the score above the F on beat 2 which is unclear. It is possibly a mark added later by a copyist as a reference point. m. 27 Bassoon: A bassoonist may want to play the ossia here to match the figure as it appears in m. 25. m. 34,35 Oboe 2 and Viola: Naturals on E are omitted in the autograph and have been here added in brackets. m.35, 38 Bassoon: Naturals on £ are omitted in the autograph and have been here added in brackets.

NOTE: It is unclear whether Schacht intended E-flats or E-naturals in mm. 33-40. I believe that the music here is in F major and hence, the notes in question should be E-naturals. See Chapter IV for full discussion. m. 40 Oboe 1 & 2: the inconsistency of this figure is curious. At first glance, one may assume that Schacht wrote a simpler version for the oboes than for the violins so that the passage not be too difficult for the oboists. (This figure should be not be too difficult for oboists today.) However, in m. 42 he writes the figure exactly how the violins have it It is left to the performer to decide if the ossias should be played or if the passage should be played as it appears in the autograph. m. 6 6 Homs: The autograph contains a n ff here. This has been changed to / to match the rest of the ensemble. m. 6 6 Violin 2: In mm. 60-66 violin 2 is marked 'Unis (violin 1)". On the downbeat of mm. 67 it begins its own part in harmony to violin 1. The last note in m. 6 6 is a pick-up. While this note works perfectly well in the violin 1 part, it seems that it would be more htting down an octave in the violin 2 part. m. 73 Tutti: The slurring is inconsistent in the autograph. Violin 1 has a slur over beat 1 (only); oboe 2 has a slur over beat 2 ; bass has one slur over the entire bar. A compromise/ composite articulation has been deduced from these and given in dashes where appropriate. 221 Movement III

General The notation at the end of variations differs throughout the autograph. Some end with single bar lines with a heavy stroke through them; some end with ordinary double bar lines. These have both been interpreted as double bar lines. (In the autograph end bar lines appear as a double bar line with a heavy stroke through them.)

General There are several places where Schacht writes a dotted rhythm against a prevailing triplet subdivision. It is possible that Schacht intended for these dotted rhythms to be synchronized with the triplet subdivision. In these cases an alternative, triplet-based rhythm has been notated above the part. It is left to the performer^ s interpretation which of these should be played. (See Chapter V for further discussion.) m. 7, 43 Bassoon: The rhythm on beat 2 in these measures appears to be j . This has been altered to m. 13 Oboe 2: Originally a quarter note D on beat 1. This has been chcmged to match the viola part. m. 47 Oboe 1: Grace note added to match violin 1. Whether this grace note was omitted intentionally or not is uncertain. m. 54 Viola and Bass: slur added by analogy (m. 82) mm, 54-55 Violin 2: In the autograph, a tie appears connecting the F's on either side of the bar line. This tie does not appear in the analogous spot at mm. 82-83. Because aU other voices articulate the downbeat of measure 55, it has been decided to remove this tie. m. 59, 63 Oboes and Horn: The dotted eighth -sixteenth rhythm may be altered to synchronize with the triplets. See Chapter V. (The fact that the homs play even eighth notes against the strings' triplets in m. 60 may argue for interpreting the dotted eighth- sixteenth as written.) m. 6 6 Viola: The fact that Schacht wrote an eighth note and not a sixteenth note at the end of the measure may argue for interpreting the rhythm as written. 222 mm. 68,148, Bassoon: The sixteenth note pick-up may be altered to 152 synchronize with the third note of the triplet. See Chapter V. m. 75 Bassoon: The autograph has ^ T f f T . This has been altered to match the motive as it appears in mm. 69-74. m. 84 Strings: from looking at the microfilm, it is not possible to discern with certainty whether or not there is a stroke on the and of 2 in the strings. mm. 97-98 The autograph has a slur over these two bars in the viola and bass only. In the analogous spot in mm. 101-102 no slur appears in any part. Therefore, it has been decided to remove the slurs in mm. 97-98. m. 108 Viola and Bass: There is a dynamic marking on beat two which appears to be r/. If this is the case, it is the only such dynamic marking in the piece. It is almost certainly NOT a m / nor simply /. Sometimes Schacht marks /r as an abbreviation ior forte, it is possibly, but quite unlikely, that he switched the / and the r around here. m. 123 Viola: Slur added by analogy (viola, m. 95). mm. 119-120 Homs: The autograph has a slur over this bar line. This slur does not appear in mm. 91-92 nor in the violin 2 part in either spot. Therefore, it must be be unintentional and has been removed. mm. 137-38 Violin 2: It is uncertain what (if anything) the second violins should be playing here. In m. 134 the violin 2 is marked (play an octave below the first violins. Mm. 135-138 are left blank. Clearly the marking holds through until the repeat sign at the end of m. 136. However, it can not continue through until the end of m. 138 because the F on beat two would be lower than the violin's range. Because the dynamic is/and the entire orchestra (except the bassoon) is playing, it seems almost certain that Schacht intended the violin 2 to be in unison with violin 1 for these two measures. mm. 139-40 Oboe 1 and Violin 2: slur added by analogy (violin 1). 223 mm. 139-40 Oboe 2 and Viola: Slur added by analogy (bass, and to a lesser extent, violin 1 ). mm. 153-56 Tutti: Schacht's slurring here is inconsistent Suggested slurs (in dashes) have been added by analogy. m. 176 Oboe 1 & 2: There is a marking above the oboe parts here which looks like a capital S followed by a colon(S: ). It is unclear what this marking indicates, possibly "soli", which has been entered into the score in brackets. m. 196, 200 Bassoon: Slurs added by analogy (violins and oboes). mm. 197-99 Violin 1: This slur stops at the downbeat of m. 198. It has been extended into the downbeat of m. 199 by analogy (viola and bass). m. 203 Violin 2: In the autograph this measure has been left blank, the C and the tie into it have been added by analogy (m. 199). M. 203 is the first measure of a new page in the autograph. Hence it is likely that Schacht simply forgot to carry this note over. mm. 205-08 Viola: It is unclear whether the viola should be playing here or not. The autograph has a whole-note rest in m. 205 followed by three blank measures. Normally, this would indicate four measures rest. However, there is evidence to suggest that the viola should be playing here. One, there is a p indication for the viola part in m. 205. (Why would measures rest be given a dynamic marking?) Two, there is no other instance in this piece of scoring for solo bassoon accompanied by all the strings except viola. Scoring for solo bassoon accompanied by all the strings is very common. Three, there is no real justification for the viola to enter in m. 209. On the other hand, it seems very normal for the viola and bass part to break into parts here (as opposed to octave doubling). Hence, I surmise that Schacht intended to write a bass clef - or some other marking to indicate "with the bass" - in m. 205, and erroneously wrote a whole rest. m. 223 Bass: The low C on beat 2 is off the range of most string basses today. However, it is within the cello's range. It would proabbly be best for the cellos to play the lower C and the basses to take this note up an octave. 224 m. 236 Violin 2: From the microfilm, it is not possible to determine the violin 2 part with absolute certainty. What is written in the score seems to be the most likely choice. (Violins 1 & 2 are written on the same staff in mm. 217-255 [only]) m. 256 Horn 1 & 2: There is no dynamic given in the autograph here. Given that Schacht often marks the homs quieter than other instruments, that the homs are playing in unison, and that they have an accompanimental part,/seems an appropriate marking. mm. 272-74 Violin 2: Slur altered to reflect modem notational practice. m. 276 Oboe 1 & 2: p indication added by analogy (oboes, m. 280).

mm. 288-89 Oboe 1 is marked "Col V. 1°" in m. 283. Oboe 2 is marked " 8 ^ ^ ' (play an octave below oboe 1) in m. 284. Mm. 285-289 are blank in both parts, indicating that they should play with the violins until the end of m. 289. The whole rests in mm. 288-289 have been added by analogy (mm. 260-261). Clearly, Schacht simply forgot to write these in. m. 281 Bass (& viola): Autograph has I W . Has been changed

to f to match the figure in the rest of the ensemble and in other measures. m. 299 The dynamic indications in the autograph are: violins /; oboes - none (pp in m. 291), homs - /; viola and bass -ff. These have been changed to/fin all parts (except homs) to match the viola and bass and to provide a fitting end to the complete concerto. The homs, which are playing in unison until the last three notes, have been left at/for balance. m. 299 Bassoon: an ossia has been given here in case the soloist wishes to play along with the ensemble beginning in m. 299. m. 303 Oboe 1: An ossia has been added so that the final chord may end with tonic in the highest voice. Schacht clearly wrote an A here. However, this creates and imperfect cadence, and hence may not be suitable for the end of a piece. (The third of the chord is covered in horn 2 and violin 2 .) APPENDIX E LIST OF CHAMBER AND SOLO WORKS COMPOSED BY THEODOR VON SCHACHT INVOLVING BASSOON

Concertos

Rtt Schacht 30: Concerto di Fagotto: F; Fg solo; 2 Vln, Via, Bs, 2 Ob, 2 Cor; 3 movements; 1789; Farber 33.

Rtt Schacht 31/1: Concerto: Bb; Fg solo; 2 VIn, Via, Bs, 2 Cl, 2 Cor (Bb); 3 movements; ca. 1770; Farber 31.

Rtt Schacht 31/11: (Concerto per due Fagotti): Bb; 2 Fg solo; 2 VIn, Via, Bs, 2 FI, 2 Cl, 2 Cor; 3 movements; ca. 1780; Farber 32.

Concertante works

Rtt Schacht 13: Sinfonia Concertante: c minor; VIn, Ob, Cor, Fg solo; 2 vln, Viola, Bs, 2 Cl, 2 Cor, 2 Trom, Timp; 3 movements; 1783; Farber 16.

Rtt Schacht 26: Ouartetto: C; Ob, FI, EH, Fg solo; 2 Vln, Via, Bs, 2 Cor in C, 2 Clarini (Q, Tympano; 1774; Farber 70.

Rtt Schacht 27: Terzetto: Eb; Ob, Fg, Cor solo; 2 Vln, Via, Bs, 2 FI; 3 movements; ca. 1780; Farber 75.

Rtt Schacht 28: Terzetto: Eb; Cl(Ob), Fg, Cor solo; 2 Vln, Via, Bs, 2 EH, 2 FI, 2 Cor (Eb); 1772; Farber 76.

Chamber music

Rtt Schacht 72: fSatze): Bb; Ob, 2 Cl, 2 Cor, Fg; 18 movements; ca. 1790; Farber 90. 225 226 Rtt Schacht 73/ H: Partitta d'Armonia: Bb; 2 Ob, 2 Cl, 2 Cor, 2 Fg; 12 movements; ca. 1790; Farber 102.

Rtt Schacht 74/11: Partita: G; 2 EH, 2 Cl, 2 Cor, 2 Fg; 12 movements; 1789; Farber 91.

Rtt Schacht 76: (Drei) Aufzüge: Eb; 2 Cor in Eb, 4 Tr, Fg, Timp; 3 movements; ca. 1790; Farber 108.

Rtt Schacht 77: Partitta:D;2 FI,2Ob,2ClinA,2ClinD, 2 Fg,2Cor,Tr, Tamburo Turco, Tamburo, Tamburino, Triangle, Piatti; 6 movements; 1794; Farber 104.

Rtt Schacht 78: Turco: D; Flautino, 2 Cl in A, 2 Cl in D, Fg, 2 Cor, Tr, Triangle, Tschinelli, Tamburo; 12 movements; ca. 1790; Farber 105.

Rtt Schacht 79/1: (Parthia): Eb; Ob, 2 Cl, 2 Cor, Fg; 2 movements; ca. 1790; Farber 92.

Rtt Schacht 79/ H: fThema mit Zwei Variationen): Bb; 2 Cl, 2 Fg, 2 Cor, 2 Via, Bs; ca. 1790; Farber 93. (unfinished)

Rtt Schacht 79/HI: Musette: Bb; 2 Cl, 2 Fg, 3 Cor; one movement; ca. 1790; Farber 94.

Rtt Schacht 80/HI: (Parthia): F; 2 Cl, 2 Fg, 2 Cor, 2 Tr, 2 Via, Violone; 13 movements; ca. 1780; Farber 99.

Rtt Schacht 84: Thema Tedesco con 48 Var.: Bb; 2 Cl, 2 Fg, 2 Cor, 2 Tr, 2 Via, Bs; ca. 1800; Farber 112. (Note: unfinished sketches, theme missing)

Rtt Schacht 86/11: Allemande variée: Bb; 2 Cl, 2 Fg, 2 Cor in Bb, 2 Cor in Eb, 2 Clar, 2 Via, Violone; theme with 12 variations; ca. 1790; Farber 115.*

' This theme was reset by Schacht in a more orchestral version: Rtt Schacht 8 6 / 1: Allemande con Variazioni: Bb; 2 VI, 2 Via, Bs, 2 Ob, 2 Cl, 2 Fg, 2 Cor; theme with six variations; ca. 1790; see Farber 114-115. There are six other manuscripts in the Thum ünd Taxis library which are or contain a theme and variations based on this same theme. Whether these are by Schacht or not is uncertain. They are listed in Haberkamp on p. 266 and p. 288 under the call number Rtt Inc.IVa/21/1, naming Schacht as the composer but with a question mark. 227 Rtt Schacht 87/11: Anglaises Favorites #1: Bb; 2 Q , 2 Fg, 2 Cor in Bb, 2 Cor in Eb, 2 Clar, 2 Via, Violone; 6 variations; 1793; Farber 117/

Rtt Schacht 87/11: Anglaises Favorites #2: Bb; 2 Cl, 2 Fg, 2 Cor in Bb, 2 Via, Violone; 12 variations; 1793; not listed separately in Farber.

Rtt Schacht 160: (Parthia): Bb; 2 Cl, 2 Fg, 2 Cor, 2 Via, Violone; 12 movements; ca. 1790; Farber 95.

Rtt Schacht 161: Partita: Bb; 2 Cl, 2 Fg, 2 Cor, 2 Via, Violone; 13 movements; ca. 1790; Farber 96.’

Rtt Schacht 162: (Parthia): C; 2 Cl, 2 Fg, 4 Cor, 2 Clar, 2 Via, Violone; 12 movements; ca. 1780; Farber 97.

Rtt Schacht 163: (Parthia): Eb; 2 Cl, 2 Fg, 4 Cor, 2 Tr, 2 Via, Violone; 12 movements; ca. 1790; Fârber 98.

Works with Voice

Rtt Schacht 130: "Alme incaute che torbide ancora": Eb; Bass aria with bassoon obligato; 2 Vln, Via, Bs,2 Ob, 2 Cor, 2 Tr, Timp; 1788; Farber 189.

'This theme is found as the first movement in another manuscript in the library: Rtt Inc.IVb/3: Six Anglaises: Bb; 2 Via, Bs, 2 Cl, 2 Fg, 2 Cor; 6 movements; ca. 1790; not in Farber. Haberkamp names Schacht as the composer of this work, but with a question mark. Farber does not list the work at all. Traster (p. 45) says that it is by Schacht.

’ This work is discussed fully in Traster (pp. 58-90) and an edited score is provided (pp. 148-309) According to Traster, this is truly a twelve movement work; the tWrteenth movement which appears on the parts does not belong to it. Five of the twelve movements are originally by Schacht, seven are arrangements of music by Mozart, one is n arrangement of a work by Paisiello. LIST OF REFERENCES

Books and Periodicals

Anderson, Emily. The Letters of Mozart and His Family. 3rd ed. London: MacMillan, 1985.

Angerer, Hugo. "Geschichte des Musikalienbestandes", in Gertraut Haberkamp. Die Musikhandschriften der Fûrst Thum und Taxis Hofbibliothek Regensburg: Thematischer Katalog. München: G. Henle Verlag, 1981.

Angerer, Hugo & Emmerig, Thomas & Holzer, Robert "Introduction" from The Symphony 1720-1840. Series C, Volume VII, ed. by Barry S. Brook. New York: Garland Publishing, Inc, 1984.

Bach, Carl Phillip Emanuel. Versuch über die wahre Art das Clavier zu Spielen. Berlin, 1753. Translated and ed. by William J. Mitchell as Essay on the True Art of Playing Keyboard Instruments. New York: W. W. Norton, 1949.

Badura-Skoda, Eva and Paul. Interpreting Mozart on the Keyboard. Translated by Leo Black. New York: St. Martin's Press, 1962.

Brown, Howard Mayer and Stanley Sadie, editors. Performance Practice after 1600. New York: W. W. Norton, 1989.

Bumey, Charles ed. by Percy Scholes. An Eighteenth-Century Musical Tour in Central Europe and The Netherlands. Westport: Greenwood Press, 1979.

Carse, Adam. The Orchestra in the XVmth Century. Cambridge: W. Heffer & Sons Ltd., 1940. 228 229 Clementi, M. Introduction to the Art of Playing on the Piano Forte. London, 1801. Reprinted New York: Da Capo Press, 1974..

Ewell, Terry B. "Playing those Missing' Notes in Baroque and Classical Concerti", The Double Reed, vol. 20, no. 1. Idaho Falls: International Double Reed Society, 1997.

Farber, Sigfrid. Das Regensburger Fürstlich Thum und Taxissche Hoftheater und seine Oper. 1760-1786. Vehandlung des Historischen Vereins von Oberpfalz and Regensburg LXXXVI. Regensburg, 1936.

"Der fürstlich Thum und Taxissche Hofkomponist Theodor von Schacht und seine Opemwerke," in Studien zur Musikgeschichte der Stadt Regensburg 1. Regensburg Beitrage zur Musicwissenschaft, Bd. 6 , ed. Hermann Beck. Regensburg: Gustave Bosse Verlag, 1979.

Forkel, Johann Nikolaus. Musikalischer Ahnanach fur Deutschland auf das lahr 1783. Leipzig, 1783; reprint Hildesheim: Georg Olms Verlag, 1974.

Haberkamp, Gertraut. Die Musikhandschriften der Furst Thum und Taxis Hofbibliothek Regensburg: Thematischer Katalog. München: G. Henle Verlag, 1981.

Hill, James Walter. The D Major clarinet concerto by Theodor von Schacht (178-1823): A lecture recital, together with three additional recitals of selected works by Brahms. Richmond. Rossini. Crussell. Reger, and others. DMA thesis: North Texas State University, 1986.

Hodges, Woodrow Joe. A biographical dictionary of bassoonists bom before 1825. PhD dissertation: University of Iowa, 1980.

Houle, George. Meter in Music. 1600-1800. Bloomington: Indiana University Press, 1987.

Keams, Andrew: The eighteenth century orchestral serenade in South Germany. PhD thesis: University of Illinois at Urbana-Champaign, 1993.

______. The eighteenth century hom concertos in the Thurn und Taxis Court Library in Regensburg. MM thesis: University of Illinois at Urbana-Champaign, 1986.

Koenigsbeck, Bodo. Bassoon Bibliography. Monteux: Musica Rara, 1994. 230 LaRue, Jan. "A New Figure in the Haydn Masquerade." Music and Letters 40 (1959), pp. 132-39.

Landon, H. C Robbins and Mitchell, Donald, eds. The Mozart Companion, by New York: W.W. Norton & Co., 1956.

Landon, H. C Robbins, ed. The Mozart Compendium. New York: Schirmer Books, 1990.

Lasocki, David and Betty Bang Mather. The Classical Woodwind Cadenza: A Workbook. New York: McGinnis & Marx, 1978.

Marty, Jean-Pierre. The Tempo Indications of Mozart. New Haven: Yale University Press, 1988.

Mettenleiter, Dominicus. Musikgeschichte der Stadt Regensburg. Regensburg, 1866.

Milchmeyer, J. P. Die wahre Art das Pianoforte zu spielen. Dresden, 1791.

Mozart, Leopold. Versuch einer grûndlichen Violinschule. Augsburg, 1756. Translated by Edith Knocker as A Treatise on the Fundamental Principles of Violin Playing. London: Oxford University Press, 1951.

Neumann, Friedrich. Ornamentation and Improvisation in Mozart. Princeton: Princeton University Press, 1986.

Ozi, Étienne. Nouvelle Méthode de Basson, reprint edition. Geneva: Minkoff Reprint, 1974.

Quantz, Johann Joachim. Versuch einer Anweisung die Flote traversiere zu spielen. Berlin, 1752. Translated by Edward R. Reilly as On Playing the Flute. New York: The Free Press, 1966.

Rosen, Charles. Sonata Forms, revised edition. New York: W. W. Norton & Company, 1988.

Rubin, Emanuel. "New light on late eighteenth-century tempo: William Crotch's pendulum." Performance Practice Review. Vol. 2, no. 1, Spring 1989, pp. 34-57.

Stevens, Jane R. "An 18th-century Description of Concerto First-movement Form." Tournai of the American Musicological Society. XXTV, 1971. pp. 85-95. 231 Stevens, Jane R. 'Theme, Harmony, and Texture in Classic-Romantic Descriptions of Concerto First-Movement Form," Tournai of the American Musicological Society. XXVII, 1974. pp. 24-60.

Sweger, Keith Warren. The bassoon concertos of Tohann Christian Bach (1735-1782): A historical, stylistic, and performance analysis. DMA thesis: University of Wisconsin - Madison, 1990.

Thorpe, Allan Ross. Three works for bassoon (ca. 1780-1815) by the composers Brandi. Schneider and Schacht. including histories, scores and commentaries on editing. DMA Thesis: University of British Columbia, 1994. (Canadian theses on microfiche: 954019)

Todd, Larry R. and Willaims, Peter, eds. Perspectives on Mozart Performance. Cambridge: Cambridge University Press, 1991.

Tovey, Donald Francis. Essays in Musical Analysis. Volume IE: Concertos. London: Oxford University Press, 1936.

Traster, Jeffrey Lynn. Divertimenti and Parthien from the Thum und Taxis court at Regensburg 1780-1823: A source of repertoire for wind ensemble. A.Mus.D.: University of Texas at Austin, 1989.

Tromlitz, Johann. George. Ausfuhrlicher und gründliche Unterricht die Flote zu spielen. Leipzig, 1791. Translated and edited by Ardal Powell as The Virtuoso Flute Player. Cambridge: Cambridge University Press, 1991.

Turk, Daniel Gottlob. Clavierschule. Leipzig, 1789. Translated by R. Haggh as School of Clavier Playing. Lincoln, Nebraska: University of Nebraska Press, 1982.

Waterhouse, William. The Proud Bassoon. Edinburgh: Edinburgh University Collection of Historic Musical Instruments, 1983.

Waterhouse, William. "Notes on the performance of the Mozart Bassoon Concerto K191 (186e)." Unpublished manuscript, 1991.

Whitwell, David, The Wind Band and Wind Ensemble of the Classic Period. vol. 4 of The History and Literature of the Wind Band and Wind Ensemble. 9 vols, Northridge, CaUfomia: Winds, 1984.

Zaslaw, Neal. Mozart's Symphonies: Context. Performance Practice. Reception. Oxford: Clarendon Press, 1989. 232 Dictionaries and Encyclopedias

Blume, Friedrich, ed. Die Musik in Geschichte und Gegenwart. Kassel: Barenreiter, 1958.

Sadie, Stanley, ed. The New Grove Dictionary of Music and Musicians. London: MacMillan, 1980.

Sadie, Stanley, ed. The New Grove Dictionary of Musical Instruments. London: MacMillan, 1984.

Musical Scores

Gluck, Christoph Willibald. "La Recontre imprévue" in Christoph Willibald Gluck Samlitche Werke. Abteilimg IV: Fransosische komische Opem, Band 7. Kassel: Barenreiter, 1964.

Gluck, Christoph Willibald. "La Recontre imprévue". Vocal score by Elisabeth Heckmann. Kassel: Barenreiter, 1983.

Küffner, Joseph. 24 Instructional Duets. Edited by Gunther Joppig. Vienna: Universal Edition, 1986.

Mozart, Wolfgang Amadeus. "Zehn Variationen in G" in Wolfgang Amadeus Mozart: Neue Ausgabe Samtlicher Werke (NMAL Serie DC: Klaviermusik, Werkgruppe 26: Variations fiir Klavier. Kassel: Barenreiter, 1961.

Schacht, Theodor von. Concerto in Bb (Rtt Schacht 31/1). Microfilm copy of manuscript score, ca. 1770.

______. Concerto in Bb for Two Bassoons (Rtt Schacht 31 /11). Microfilm copy of manuscript score, ca. 1770.

______. Concerto in F (Rtt Schacht 30) Microfilm copy of manuscript score, 1789.

Tschaikovsky, Peter llyitsch. Mozartiana. Suite No. 4, op. 61. Foreword by Max Unger. London: Ernst Eulenberg, no date given. 233 Musical Recordings

Gluck, Christoph Willibald. Les Pèlerins de la Mecque ou La Recontre Imprévue. John Elliot Gardiner, conductor. Notes by Bruce Allen Brown. Musifrance/Erato CD WE 815 ZA, 1991.

Mozart, Wolfgang Amadeus. 'Variations 'Unser dummer Pôbel meinf", K. 455. Performed by Andras Schiff, piano. New York; London Records 421369-2,1988.

Schacht, Theodor von. "Concerto in Bb for Clarinet and Orchestra". On Bayem's Schlôsser und Residenzen: Thurn und Taxis ILPl. Performed by Dieter Klôcker, clarinet and Concerto Amsterdam, Jaap Schroder, conductor. Notes by Hugo Angerer. Bedford, Mass: BASF KBF 21191, 1973.

Schacht, Theodor von. Klarinettekonzerte. Performed by Dieter Klôcker, et al, clarinets, and Bamberger Symphoniker, Hans Stadlmair, conductor. Notes by Dieter Klôcker. Munich: Orfeo C 290 931 A, 1993. IMAGE EVALUATION TEST TARGET (Q A -3) /

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