The Bassoon Concerti of Johann Wilhelm Hertel Ashley Heintzen
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For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC TRACING THE DEVELOPMENT OF EARLY CLASSICAL STYLE: THE BASSOON CONCERTI OF JOHANN WILHELM HERTEL By ASHLEY HEINTZEN A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2006 The members of the Committee approve the treatise of Ashley Heintzen defended on March 30, 2006. ______________________________ Jeffrey Keesecker Professor Directing Treatise ______________________________ Seth Beckman Outside Committee Member ______________________________ Eric Ohlsson Committee Member ______________________________ Frank Kowalsky Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Examples…………………………………………………………………….iv List of Figures……………………………………………………………..............…v Abstract…………………………………………………………………………….. vi INTRODUCTION…………………………….……………………………………..1 I. THE LIFE OF JOHANN WILHELM HERTEL…………………………….4 II. THE EARLY CLASSICAL STYLE History………………………………………………………………12 The Galant Style…………………………………………………….16 III. CONCERTO IN B-FLAT………………………………………….. ………20 IV. CONCERTO IN A MINOR………………………………………………...30 V. CONCERTO IN E-FLAT…………………………………………………...39 CONCLUSION…………………………………………………………….............. 55 APPENDIX………………………………………………………………………… 58 BIBLIOGRAPHY………………………………………………………………….. 63 BIOGRAPHICAL SKETCH………………………………………………..………67 iii LIST OF EXAMPLES 1. Hertel, Concerto in B-flat, Movement 1, measure Movement 3, measure 141-144………………..17 2. Hertel, Concerto in B-flat, Movement 1, measure 1-2…………………….. 21 3. Hertel, Concerto in B-flat, Movement 1, measure 24-38…………………...22 4. Hertel, Concerto in B-flat, Movement 1, measure 118-119……………….. 25 5. Hertel, Concerto in B-flat, Movement 2, measure 1-15…………………… 27 6. Hertel, Concerto in A minor, Movement 1, measure 1-8………………….. 32 7. C.P.E. Bach, Concerto in D minor, Wq 23, Movement 1, measure 1-8…… 32 8. Hertel, Concerto in E-flat, Movement 1, measure 1-3……………………... 41 9. Hertel, Concerto in E-flat, Movement 1, measure 4-25……………. …........43 10. Hertel, Concerto in E-flat, Movement 1, measure 26-27…………………... 47 11. Hertel, Concerto in E-flat, Movement 1, measure 38-39…………………... 47 12. Hertel, Concerto in E-flat, Movement 2, measure 16-19…………………... 50 iv LIST OF FIGURES 1. Five-Ritornelli: Orchestra Return…………………………………………...3 2. Hertel, Concerto in B-flat, Movement 1, Five-Ritornelli: Orchestra Return………………………………….. 21 3. Hertel, Concerto in B-flat, Movement 2, Four-Ritornelli: Orchestra Return………………………………….. 26 4. Hertel, Concerto in B-flat, Movement 3, Four-Ritornelli: Soloist Return…………………………………….. 28 5. Hertel, Concerto in A minor, Movement 1, Five-Ritornelli: Orchestra Return………………………………….. 34 6. C.P.E. Bach, Concerto in D minor, Wq 23, Movement 1, Five-Ritornelli: Orchestra Return………………………………….. 34 7. Hertel, Concerto in A minor, Movement 2, Four-Ritornelli: Orchestra Return………………………………….. 35 8. Hertel, Concerto in A minor, Movement 3, Rondo/ Five-Ritornelli: Orchestra Return……………………......... 36 9. Hertel, Concerto in E-flat, Movement 1, Five-Ritornelli: Orchestra Return………………………………….. 40 10. Hertel, Concerto in E-flat, Movement 2, Four-Ritornelli: Soloist Return…………………………………….. 49 11. Hertel, Concerto in E-flat, Movement 3, Five-Ritornelli: Orchestra Return………………………………….. 52 v ABSTRACT The first half of the eighteenth century was an important time of transition in music history that linked the end of the Baroque period to the Classical era. The music of the early Galant style, which was written during this period, is commonly overlooked or undervalued. In order to gain a more thorough understanding of the stylistic traits and structures that led to the Classical period, a study of this music is important. Johann Wilhelm Hertel’s (1727-1789) bassoon concerti reflect the transition in style between the late Baroque and Classical eras. Hertel’s autobiography lists six bassoon concerti, but the three concerti selected for this study are the only surviving works. The Concerto in B-flat is the best example of a galant concerto with simple harmonies, three-part texture, mannered cadences and regular phrases. The Concerto in A minor is similar in many respects to C.P.E. Bach’s Concerto for Harpsichord in D minor, Wq. 23, in melodic construction, movements related by key, false returns, and a stormy character. It is possible that it was written in Berlin during Hertel’s year of study at the court of Frederick the Great. The Concerto in E-flat is the longest and most complex of the three concerti, and the score includes two horns and two oboes in the outer movements, and two flutes in the slow movement. The use of winds is significant, and indicates the Concerto in E-flat is probably one of Hertel’s later compositions. Although he composed a great deal of music, very few of Hertel’s manuscripts have been published. Currently, there are nine published wind concerti by Hertel, including the three bassoon concerti, three trumpet concerti, an oboe concerto, a concerto for trumpet and oboe, and a concerto for trumpet, two oboes, and two bassoons. As of this writing, the majority of Hertel’s works are not published, but the few pieces that have been issued are arguably among his best works. vi INTRODUCTION One of the lesser-known, but highly esteemed composers of the eighteenth century was the North German composer Johann Wilhelm Hertel (1727-1789). He was an excellent violinist from the studio of Franz Benda, and his concerti for violin and keyboard were well regarded. Although Hertel considered himself a vocal composer,1 his forty-eight instrumental concerti encompass a significant portion of his output. Hertel’s early concerti show traits of the galant style with mannered cadences, tonal harmonies, symmetrical phrasing and clear structure. His works are generally free of ornamentation with the exception of precisely notated appoggiaturas and trills. In later concerti, phrases become more fluid and are developed with a less obvious structure. By the end of his career, Hertel’s works resemble the Classical concerti of Haydn and Mozart in motivic construction, enriched textures, and limited counterpoint. Hertel’s autobiography refers to “six concertos, a few easy, a few difficult” for the bassoon.2 However, only three remain: the Concerti in B-flat, A minor, and E-flat Major. Although the concerti cannot be dated precisely, a clear progression can be demonstrated through a closer analysis of the works. The Concerto in B-flat is an excellent example of Hertel’s early galant style of writing. Phrases are two or four measures in length with careful attention to balance. 1 Marcel Pusey, “A Critical Edition of Two Symphonies by Johann Wilhelm Hertel (1727-1789)” (MA Thesis, Brigham Young University, 1994) vii. 2 Patrick Peire, preface to Johann Wilhelm Hertel Concerti, Collegium Instrumentale Brugense, Eufoda 1231. 1 Melodies are constructed around the triad over a transparent accompaniment. The structure of the piece is clear, and the tonal harmonies contain very few chromatics. The Concerto in A minor is dramatically different from the Concerto in B-flat. It is one of the few concerti written by Hertel, or any composer of this period, in a minor key. The melodies are driving and turbulent, with frequent interruptions and sudden silences. The concerto shows possible influences of the rage arias popular in opera seria during the 1750’s. Similar trends may be seen in Carl Philipp Emanuel Bach’s Concerto in D minor, Wq. 23. A comparison of the two works shows interesting similarities, including the use of the minor mode, the odd choice of meter (¾), similar melodic construction, false recapitulations, and tonal relationships of the movements. C.P.E. Bach’s harpsichord concerto was written in 1748 during a time when Hertel was in Berlin for study. It is possible that Hertel modeled the bassoon concerto after the Bach concerto. The Concerto in E-flat is the best example of Hertel’s later works, and resembles a Classical concerto. It is the longest and most intricate of his bassoon concerti with melodies constructed around the smallest possible unit, the motive. With the reintroduction of counterpoint that had been discarded during the early galant, Hertel harmonizes melodies in thirds and sixths using various instrumental combinations. Most importantly, it is the first time Hertel combines horns, oboes and flutes in the accompaniment. The winds no longer serve in a ripieno function but are given solo prominence and provide contrast in timbre. All of Hertel’s concerti are in three movements in the order of fast-slow-fast. Like many of his contemporaries, he constructs concerti in ritornello structure. In outer movements, Hertel favors five ritornelli separated by four solo sections. The first ritornello is the longest and provides the character and material to be presented. The first solo section is commonly separated from the opening ritornello by a complete break that serves to announce the soloist. Subsequent ritornellos are abbreviated versions of the first. The final ritornellos conclude the movement but do not repeat primary thematic material (Figure 1).