Florida State University Libraries

Electronic Theses, Treatises and Dissertations The Graduate School

2006 Tracing the Development of Early Classical Style: The Concerti of Johann Wilhelm Hertel Ashley Heintzen

Follow this and additional works at the FSU Digital Library. 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. 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: 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, / 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 and regular phrases. The Concerto in A minor is similar in many respects to C.P.E. Bach’s Concerto for 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 during Hertel’s year of study at the court of . The Concerto in E-flat is the longest and most complex of the three concerti, and the score includes two horns and two 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 concerti, an concerto, a concerto for trumpet and oboe, and a concerto for trumpet, two oboes, and two . 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 of the eighteenth century was the North German 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 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 , 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 was written in 1748 during a time when Hertel was in Berlin for study. It is possible that Hertel modeled the 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 . 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).

2

Statements of I & V Modulation Return

R1 S1 R2 S2 R3 S3 R4 S4 R5 ______I I---V V I I I

R= Ritornello S= Solo section Figure 1: Five-Ritornelli / Orchestra return

Slow movements demonstrate Hertel’s skill at constructing beautiful, cantabile melodies. Ornamentation is restrained and part of the line, never an addition. Slow movements include a fermata over a cadential six-four chord at the end of the final solo section for an improvised or written out . Hertel favors four ritornelli and three solo sections in slow movements but experiments with various return combinations of opening material. Although he was well regarded by his contemporaries, Hertel has since faded into obscurity. This treatise is presented in order to broaden the knowledge of Hertel’s music, specifically the bassoon concerti. His biography and the discussion of the early Classical style place Hertel within a historical time frame and show the influence of other composers such as Johann Hasse, , and C.P.E. Bach in particular. The accompanying analysis focuses on formal structures, general style characteristics, and Hertel’s compositional development throughout the three concerti.

3

CHAPTER I

THE LIFE OF JOHANN WILHELM HERTEL (1727-1789)

Johann Wilhelm Hertel was born on 9 October 1727 in , Germany, the birthplace of . Johann Wilhelm was the son of Johann Christian Hertel (1698-1754), a virtuoso gamba player who was Konzertmeister of the Eisenach Kapelle from 1733 to 1741 and of the Mecklenburg-Strelitz Kapelle from 1741 to 1753. In addition, his paternal grandfather, Jakob Christian, had been Kapellmeister at the Gottingen court in 1667 until approximately 1700 and also at Merseburg in Saxony, Germany. When Duke Wilhelm Heinrich died in 1741 the Eisenach court orchestra was disbanded. Johann Christian was able to secure employment as Konzertmeister at the court of Adolph Frederick III in Neustrelitz on the recommendation of his friend, Franz Benda, violinist at the court of Frederick the Great. He began his duties as leader of the court orchestra on 1 January 1742. Although Hertel came from a rich musical tradition, both parents discouraged music as a career. It was the father’s wish that his son become a lawyer, while the mother, a vicar’s daughter, wanted him to be a Lutheran minister. Regardless of his son’s choice, Johann Christian believed that his son should acquire a solid background, not only in music, but also in the humanities. As a result, Hertel received a well-rounded education. Between the ages of ten and fourteen, he attended classes at the prestigious Zerbst Gymnasium in Eisenach, studying Classical Latin and Greek, mathematics, history, logic, and theology. Later he began lessons with Christian August Wolf in logic, morals, and natural law. Wolf was a philosopher at the University of , but is best known as the

4

leader of the Enlightenment in Germany. Although his early musical education began with his father, Hertel studied harpsichord with Johann Heinrich Heil (1706-1764), one of Eisenach’s court musicians and a former pupil of J.S. Bach. By age twelve, Johann Wilhelm had become a very proficient player, accompanying his father at the harpsichord during a concert tour of Laubach and Dilleburg in Hesse, Germany. At fifteen Johann Wilhelm left Neustrelitz for the Zerbst court, where he became the apprentice to Karl Hoeckh (1707-1773), a close friend of his father’s and Konzertmeister of the court orchestra. Hoeckh was one of the most important composers of instrumental music in North Germany at the time, and Hertel attributed a great deal of inspiration to Hoeckh, personally and musically. During his apprenticeship in Zerbst, Hertel continued his academic studies at the Bartholomauschule and later at the Gymnasium. He also came in contact with the well-known instrumental composer and Kapellmeister Johann Frederic Fasch (1688-1758). Upon completion of his studies in 1745, Hertel returned home to Neustrelitz. His father intended for him to begin law school in Leipzig. Hertel, however, stopped in Berlin at the court of Frederick the Great to visit his father’s friends, Franz Benda and the Graun brothers. During the visit, Hertel heard a clavier performance by Carl Philipp Emanuel Bach (1714-1788). According to Hertel’s autobiography, he was impressed by Bach’s performance and claimed he had never before heard such beautiful music. “Particularly the Bach concerto made such an impression on me that I could scarcely think of anything else.”3 He bought a copy of the concerto, possibly the Concerto in D Major, W.11, of 1743, with the intention “to practice it until it would sound close to what it should and what it still did in my memory.”4 The experience became a large factor in Hertel’s decision to pursue music full-time. After his return to Neustrelitz, Hertel was appointed the position of violinist and cembalist in the Hofkapelle of Duke Adolph Frederick III, where his father was still Kapellmeister. Along with his study of violin and clavier, Hertel began to study composition with his father. There was much support and appreciation of music at the

3 Daniel Heartz, Music in European Capitals, the Galant Style 1720-1780 (New York: W.W. Norton, 2003), 416.

4 Ibid.

5

court, and other musicians and composers were welcomed guests of the Court. As a result, Hertel became acquainted with some of the foremost musicians and composers in northern Germany. In 1747 Hertel was granted a one-year leave of absence from the Hofkapelle to return to Berlin to study music at the court of Frederick the Great. The musicians at the palace were some of the most prominent in Europe at the time. Hertel studied violin with Franz Benda (1709-1786), composition with Kapellmeister Carl Heinrich Graun, and keyboard lessons with C.P.E. Bach, from whom he received pieces for study. Hertel gained further experience by performing in salons of the Berlin aristocracy and composing music for such occasions. Kapellmeister Graun also allowed Hertel to play violin in the royal opera as an unpaid visitor.5 In 1748, Hertel was required to resume his position at the court of Neustrelitz. In 1750, the court at Neustrelitz acquired a pair of new Silbermann fortepianos. Hertel expressed enthusiasm over the new instruments in his autobiography, and unlike most North German composers, including the Bach family, he preferred the fortepiano to the harpsichord and clavichord. Differences in touch between the fortepiano and its predecessors were noted by Hertel and are important because the North German musicians tended to be indifferent to the distinction between instruments.6 In the autumn of 1750 Hertel’s father began losing his eyesight, and Johann Wilhelm took over his duties as orchestra leader. Two years later, Duke Adolph Frederick III died, and the musicians of the Neustrelitz court were dismissed. Hertel remained at the court for a time with the widowed Duchess, and followed her to Schwerin with a few of his former colleagues, where they joined the Kapelle of Duke Christian Ludwig of Mecklenburg. The new Duke and his family were accomplished amateur musicians and suppor- ted the court’s musical atmosphere. In 1754, Hertel was offered the position of court and chapel composer. He functioned as Kapellmeister, although he was never given that title. His duties were comprised of composing and performing music for the court. Hertel

5 Heartz, Music in European Capitals, 416.

6 Mary Romana Hertel, “Johann Wilhelm Hertel (1727-1789): A 250th Birthday Tribute,” College Musica Symposium 18 (Spring 1978): 124.

6

gave up the violin and devoted all of his time to performing and composing on the keyboard. Hertel was prolific during his first year as court composer, and he produced many instrumental works and eight large cantatas.7 However, after only two years, Duke Christian Ludwig died and was replaced by his son Frederick the Pious, who favored the works of Italians, specifically Niccolò Jommelli and Giovanni Pergolesi, rather than Germans. Until that time, Hertel’s primary influence was the music of Carl Heinrich Graun and Johann Hasse. Therefore, to incorporate Italian elements into his style, Hertel studied the works of Pergolesi and Jommelli and was pleased with the stylistic fusion within his composition. From 1757 to 1763, Schwerin entered into the Seven Years War, siding with . The court musicians were placed on leave and struggled to find work wherever they could. From 1758 to 1760, Hertel was the organist and church music director at Straslund on the Baltic, northeast of Schwerin, and used the time for study and composition. Two works he published during this period were Sammlung musikalischer Schriften, German translations of French and Italian essays on opera and aesthetics with commentary by Hertel, and two sets of Oden und Lieder on texts by Johann Friedrich Lowen.8 Also during the war years, Hertel met Karl Adolph Kunzen, the former Kapellmeister of Schwerin. Hertel characterized Kunzen’s compositions as somewhat in the style of --the early galant style--which Hertel at the time already considered antiquated.9 In 1761 the musicians of Schwerin were requested to attend the month-long festival in Neustrelitz, celebrating the marriage of Princess Sophie Charlotte of Mecklenburg-Strelitz to George III, the new King of England. Hertel composed a sinfonia for the occasion on Metastasio’s text Il vero omaggio (the true homage). The piece gained much popularity and was copied many times.

7 Hertel, “A 250th Birthday Tribute,” 125.

8 Mary Romana Hertel, foreword to Keyboard Concertos in E-flat major and F minor (Madison, WI.: A-R Editions, 1988), viii.

9 Hertel, “A 250th Birthday Tribute,” 126.

7

The Prussian troops departed Schwerin in 1762, and court activities resumed. Hertel was now requested to compose works for Frederick the Pious in the form of sacred cantatas. Up until that time, Hertel was mostly a composer of secular works. After a serious illness in 1764 Hertel considered retirement. He gave most of his music to the Prince, but retained the works by C.P.E. Bach and some of his own vocal works.10 The next year he was offered the position of privy secretary to Frederick’s sister, Princess Ulrike Sophie of Mecklenburg (1723-1813), whom he followed to Hamburg. On one occasion in Hamburg, Hertel met the famous German composer Telemann, at the time eighty-four years old, who had been a close friend of his father. After two years, Hertel returned to Schwerin. In 1767 the Duke transferred the Hofkapelle to Ludwigslust. Hertel was relieved of his post as Kapellmeister in order to remain in Schwerin, where he arranged concerts for the nobility and gave lessons. He received the title of Privy Counselor to Princess Ulrike in 1770 and continued to compose the bi-weekly concerts of sacred music for the duke. In 1783 Johann Christian Koppe, the son of the Rostock publisher, began requesting autobiographies of prominent Mecklenburg residents, particularly theologians, lawyers and scholars. Hertel was one of two musicians included in the collection. Hertel’s autobiography was first published in 1784 as Volume 3 of the Weiner Musikwissenschaftlichen Beitrage (Bohlau Verlag, Graz-Koln, 1957).11 The revised second edition, published in 1806, contains many corrections from the first edition and a six-page listing of Hertel’s work.12 The third edition was never completed. From the three versions, Erich Schenk published the first complete edition of Hertel’s autobiography in 1957.13 Written in the third person, it portrays Hertel as a likable and hard working individual. The autobiography is more than an account of Hertel’s life and compositions. It also provides valuable information about composers mostly associated with the Berlin School, such as the Benda brothers, the Graun brothers, Johann Joachim

10 Hertel, “A 250th Birthday Tribute,” 127.

11 Hertel, Keyboard Concertos, vii.

12 Hertel, “A 250th Birthday Tribute,” 129.

13 Hertel, Keyboard Concertos, vii.

8

Quantz and Carl Philipp Emanuel Bach. The reader also gains insight into the musical and social life in the North German cities of Berlin, Zerbst, and Straslund, as well as Mecklenburg, which at that time comprised the duchies of both Schwerin and Strelitz. In his autobiography Hertel expressed his thoughts on the art of composition as follows: He discovered all too quickly that it was primarily nature that provides the talent for a fine composer, [but] that next to this, much thought and arduous, protracted study was demanded. Talent without industry produces nothing but a wild vine; industry without talent only a forced, dry fruit. If one has neither, he would be happier with a cobbler’s knife and last than with the art of composition. Only he who combines superior talent and a soul full of emotion with persistent diligence and a mind trained through [exposure to] the sciences, and who meets the right opportunity to gain momentum, can hope to achieve honor in this profession. Much good certainly [results] when this combination is present; but its absence is certainly also the reason for [there being] such countless hordes of bunglers. No amount of travel, familiarity with a great amount of music, or gentlemanly refinement and polish can serve as a substitute.14

Hertel’s autobiography does not contain many references of a personal nature. It does, however, note that in 1768, at the age of forty-one Hertel married a lady of the court, Sophie Emilie von Wurmb, age twenty-six, who was one of his keyboard students. After fifteen years, however, the couple separated in 1783. Hertel’s personal sorrow precipitated a nervous breakdown. In his last years, Hertel gave up the violin due to worsening eyesight. He devoted himself to the study of the recently invented piano, popularized by in London. Hertel continued to work on cycles of sacred cantatas on the Passion of Christ until his death on June 14, 1789. Hertel was a prolific composer with an output that includes instrumental and vocal compositions, theatrical works, translations, and an autobiography. Among Hertel’s compositions are forty-eight concerti: fifteen for keyboard; nine for violin, possibly for himself or Franz Benda; two for , possibly for his brother-in-law Marcus Heinrich Grauel, who was cellist for the Royal Chapel in Berlin; three for flute, written

14 Hertel, Keyboard Concertos, ix.

9

for Ritter von Chassot; ten for oboe, possibly written for Johann Friedrich Braun, one of the foremost oboists of the day and a pupil of Carl Besozzi15 (a celebrated composer); three for trumpet, written for the Schwerin Court’s principal trumpet player Johann Georg Hoesse;16 three for bassoon; and a for trumpet and oboe. In addition, there were numerous other compositions including keyboard sonatas; violin sonatas with continuo; partitas for organ and oboe; trios for harp, violin and cello, written for Demoiselle Petrini, a harpist from Berlin; a few trio sonatas; a quartet for two horns and two bassoons (“Sonata a Quattro”); a quintet for trumpet, two oboes and two bassoons (“Concerto à Cinque”); secular and sacred cantatas; Lieder; and Italian arias.17 Hertel’s libraries in Brussels and Schwerin contain forty-five symphonies. Of particular interest is the Symphony in C major that called for eight . The catalogue of vocal works contains masses, passions, sacred and secular cantatas, two collections of Lieder, and includes precise information on the creation and performance of several works. Though Hertel composed a full catalogue of his own works, some of the included works are thought to have been by his father, Johann Christian Hertel. The confusion is indeed understandable, and it is probable that Johann Wilhelm would have been in possession of his father’s works. Also included in Hertel’s estate were significant works of other composers: Hasse’s operas Adriano in Syria, Olimpiade, Tito, Pellegrini al sepolcro, and Alcide al Bivio; Graun’s Te Deum and Der Tod Jesu; J.S. Bach’s Choral-Gesang, Part I; nineteen keyboard sonatas and eleven keyboard concerti by C.P.E. Bach; six clavier suites of Handel; and two sets of clavier pieces of Benda.18 The manuscripts containing Johann Wilhelm’s signature in the Brussels Bibliotheque had previously been in the collection of Johann Jakob Westphal (1756-

15 Gunther Joppig, preface to Concerto in G for Oboe and by Johann Wilhelm Hertel (: Universal Edition, 1984).

16 Edward Tarr, preface to Concerto No. 3 in D Major for Trumpet and string Orchestra, by Johann Wilhelm Hertel (Musikverlag: Mc Naughtan, 1992).

17 Hertel, Keyboard Concertos, ix.

18 Hertel, “A 250th Birthday Tribute,” 127.

10

1825), an organist, music copyist, and avid music collector from Schwerin,19 who bought Hertel’s musical estate in its entirety in 1789, three months after Hertel’s death, at an auction in Schwerin. Though the majority of Hertel’s estate consisted of books on history, law and horticulture, his music collection received very little attention for bidding. Printed editions were purchased for a quarter of their regular price, and manuscripts sold for almost nothing. At his request, Westphal’s vast collection was sold as a unit after his death instead of at auction. A decade later, his library was acquired by Francois-Joseph Fetis and distributed to the Brussels Bibliotheque du Royale Conservatoire during the nineteenth century. Hertel’s compositions have also been preserved in the library at Schwerin’s Wissenschaftliche Allgemeinbibliothek20 and remain largely untouched. The lexicographer, Ernst Ludwig Gerber, mentioned Hertel in the 1790 listing: “Since the middle of this century, he has been one of our most gifted, most sensitive composers, whether in instrumental music or vocal works. Hertel composed a great deal of music but very few of Hertel’s manuscripts were published during his lifetime. Unfortunately, the most important compositions, written for the court at Schwerin, are not generally known.”21 In general his works remained in manuscript and were not circulated outside of the courts where they were composed.

19 Hertel, Keyboard Concertos, ix.

20 Hertel, Keyboard Concertos, ix.

21 Douglas Townsend, foreword to Concertos, Oboe, String orchestra, G Major, MHS 1040 New York: Musical Heritage Society, 1968).

11

CHAPTER II

THE EARLY CLASSICAL STYLE

History

During the early eighteenth century, there was a deliberate break with music and styles associated with Baroque composers such as Johann Sebastian Bach, whose music was criticized as being artificial, contrived, and excessively complex. The new breed of Italian opera composers, including Giovanni Bononcini, Antonio Caldera, Giovanni Maria Capelli, Francesco Gasparini, Antonio Lotti, Benedetto Marcello, Alessandro Scarlatti, , and the later works of German composers Georg Frederic Handel and Georg Philipp Telemann,22 sought to create music that was lighter, moving, impressive and noble. The term style galant was used by the German music critic of Hamburg, in Das forschende Orchestre of 1721, to describe the above composers as “the most famous and galant composers in Europe.”23 It was the German music critics who coined the term galant to mean no more than “modern” or “Italian modern.” The German theorist Heinrich Koch described the use of the learned, or contrapuntal, style as appropriate for church use, while the galant was associated with or the theater. According to Koch, the galant was distinguished from the learned style:

22 Heartz, Music in European Capitals, 18.

23 Ibid.

12

1. through the many elaborations of the melody, and divisions of the principal melodic tones, through more obvious breaks and pauses in the melody, and through more changes in the rhythmic elements, and especially in the lining up of melodic figures that do not have a close relationship with each other, etc. 2. through a less interwoven harmony 3. through the fact that the remaining voices simply serve to accompany the main voice and do not take part in the expression of the sentiment of the piece, etc.24

The new Italian style focused upon clarity, rejecting any contrapuntal complexity. Phrases were balanced and orderly with the bass line supporting the prominent vocal line. In turn, the melodies were vocally conceived with a much greater emphasis on rhythmic variety. Composers were praised for their expressive and beautiful singing melodies. Venice, secondary only to Naples in refinement of the new style, was more devoted to instrumental music. Vivaldi’s new concerto, borrowing a ritornello framework from opera seria, was energized by opposing soloist and ensemble, thus creating tension and release. The concluding ritornello provided a synthesis of musical ideas. This concerto form spread rapidly through Europe. The symphony, following the framework of the concerto, also emerged in northern Italy followed by the modern sonata.25 Courts played an important part in the musical life in Germany, and ultimately the individual ruler decided the music to be performed and the amount of money to be made available to finance the project. The court at became a willing recipient of the new Italian style through its close relationship with Venice. Kapellmeister Heinchen and Konzertmeister Pisendel were strong supporters of the Vivaldi concerto. “From Dresden they helped disseminate Vivaldi’s works and style throughout northern Europe, not only through copies of his music that they brought back with them but through their own instrumental works closely modeled on his.”26 The court’s Neopolitan-trained opera

24 Heartz, Music in European Capitals, 19.

25 Ibid., 999.

26 David Schulenberg, Music of the Baroque (New York: Oxford University Press, 2001), 298.

13

composer, Hasse, was given generous support and artistic freedom to establish Dresden as the leader of the Italian style in Germany. The court at Stuttgart was regarded as a “paradise for musicians.”27 Duke Carl Eugene requested that lavish Italian operas and ballets be presented under the direction of Jommelli, who was the leader of the Italian opera style in Germany after Hasse. Unfortunately, the Duke bankrupted his duchy through his musical extravagance and his citizens paid the price in blood during the Seven Years War.28 The court of Mannheim was fairly small, as was Stuttgart. For many years, Duke Carl Theodore of Mannheim supported a distinguished opera, ballet, sacred music, and above all, symphonic music, within his budget. The symphony in Mannheim briefly became a rival to the Great court of Vienna. Frederick the Great in Berlin was a military and musical tyrant who controlled all decisions. From the beginning of his reign in 1740, Frederick proclaimed the superiority of French intellectual life and Italian music, and sought to establish a royal opera house that would rival Dresden. Many of Frederick’s musicians came from Dresden, including flautist , violinists Franz and Johann Benda, Georg Zarth, Johann Gottleib Graun, and his brother Carl Heinrich Graun, who became the Kapellmeister at the Berlin court. Carl Heinrich Graun was the only one allowed to compose operas; King Frederick chose the libretti. Graun’s music mixed the Italian and French styles. He preferred the French overture until Frederick told him to stop writing them; from then on he was only permitted to compose Italian overtures. The music critic Friedrich Reichardt made the observation in Letters Concerning Music by an Observant Traveler, published in 1774, that Graun’s operas suffered in quality in comparison with Hasse’s. “What did not please was cut, even if it was the best number in the opera. Being rather one-sided and stubborn in his taste, the King allowed Graun no freedom and variety in his operas.”29

27 Heartz, Music in European Capitals, 1001.

28 Ibid., 1001.

29 Ibid., 389.

14

One of the greatest musicians Frederick acquired was Carl Philipp Emanuel Bach in 1738. He was hired as one of two harpsichordists, the other being Christoph Nichelmann, a former student of Johann Sebastian Bach. While in the Prussian King’s service, C.P.E. Bach composed over forty keyboard concerti. Because of Frederick’s musical participation and support, several of the royal musicians established weekly private concerts and music societies dedicated to new instrumental and vocal music. The music historian Johann Nicolaus Forkel attributes the rise of the in Berlin to the music societies.

After the reign of the present king of Prussia began[,] such a general love of music arose in Berlin that, following the example of the king, everyone strove to contribute to the growth of this charming art. Not only did the king strengthen greatly the royal chapel, showing by this how much he wanted to further the cultivation of music in his states, but also private persons lent themselves to the project through the founding of special musical societies with the intention of supporting their great monarch.30

C.P.E. Bach, Nichelmann, and the composers of the concert societies, raised the standard of composition in North Germany, making this region one of the most important contributors to the instrumental concerto.31 After 1750, composers grew weary of the current galant style and began to endorse limited use of contrapuntal writing. In his Abhandlung von der Fugue (Berlin, 1753), Friedrich Wilhelm Marpurg praised Telemann for his ability to integrate galant styles and counterpoint.32 Quantz also supported reviving some of the old virtues which he discussed at length in his Versuch einer Anweisung (Berlin, 1752). Jommelli, a strong supporter of counterpoint, had been criticized early in his career for writing orchestral accompaniment that was too interesting at the expense of the voice. According to Daniel Heartz, the period after 1750 can be regarded as a second phase of the galant style.33

30 Daniel Heartz, Music in European Capitals, 413.

31 Ibid., 417.

32 Ibid., 1003.

33 Ibid., 1004.

15

The Galant Style

The new, or galant, style was markedly different from the Baroque in several aspects. One difference can be seen in the structure, with the new emphasis on regular and periodic phrases, seen in two, four and eight bar segments that often repeated. The new style strove for simplicity. In contrast, Baroque composers avoided periodic phrasing within forms such as fugues, ricercars and sonatas, in an attempt to veil the structure. One effective way to hide the structure was to employ a running rhythmic ostinato, such as quickly changing and extremely chromatic . Galant composers, instead of arpeggiating chords, repeated the same pitch in the bass, creating a “Trommel bass” or drum beat. While periodic structure does not remain as segmented and obvious as in the early Classical, it remained a fundamental trait during the entire Classical-Romantic period.34 Composers of the early Classical period, in a deliberate effort at simplicity, chose keys no more complex than three sharps or three flats. Baroque composers also stayed within three sharps or three flats, but this was due to the limitations of wind instruments of the time. Harmony in the early Classic period was bright and cheerful, and readily accessible to the listener. Pieces in major keys outnumbered minor keys at a ratio of three to one. The Italians, Bohemians and South Germans returned to the basics of harmonic language, primarily to the tonic, and dominant. Modulations were used cautiously and only to a closely related key. The North Germans, especially C.P.E. Bach and his brother, Wilhelm Friedemann, retained more of the complicated harmonies from the Baroque. The role of the bass was simplified, and the harmonic rhythm gradually slowed. Many crucial aspects of music were affected simply by the change in the harmonic rhythm. The relationship of the bass to the melody was perhaps affected the most. During the Baroque, all voices participated in the rhythmic continuity, and occassionally upper voices were assigned the task of rhythm keepers over an ostinato bass. In the new style, all means of harmonic progression and rhythmic structure were delegated to the bass, while the uppermost voice contained the melody. The melody, with its longer note

34 Friedrich Blume, Classic and Romantic Music, A Comprensive Survey, trans. M.D. Herter Norton (New York: W.W. Norton, 1970), 32.

16

values in fast movements, evolved into a “singing allegro.” Any other melodic voice was definitely secondary. “Classic-Romantic music lives by melody, and it is in the melody that the finest expressive value and highest originality lies.”35 Opera seria prepared the way for melodic independence, but melody did not achieve its stamp of originality until well into the Classical era. In an effort to return to music in its simplest nature, composers used folk songs as models, with melodies that were constructed around the four or eight bar phrase. Many composers employed the same turns and cadential formulae. Two particular cadences became so frequently used that they were known as galante. The first cadence is nothing more than the common I-IV (or ii6/5)-V-I with a descending treble melody (Example 1). The second cadence is just a variation of the first with the bass rising by step from the first to fifth degree with a descending treble.36

Descending treble

Rising bass

I IV V I i iv V i

Example 1: Hertel, Concerto in B-flat, Movement 1, m.4; Movement 3, m.141-144.

Early Classical composers also focused more attention on contrast. Each phrase differed rhythmically or dynamically from its predecessor, with careful attention to balance. Certain rhythms became common, such as the syncopation, dotted rhythms, Lombard or Scotch snap rhythms, and dance and march rhythms. Italian composers

35 Blume, Classic and Romantic Music, 45.

36 Heartz, Music in European Capitals, 23.

17

preferred a vital, energetic rhythm; the French often repeated the same stereotypical rhythms, while the Bohemians, Austrians and Germans preferred the dance-like or swaying rhythms. Rhythm became another means of refining expression.37 Throughout the Classical era, the size of the concerto orchestra continued to grow. Winds--at first oboes and horns--no longer served as ripieno instruments, but now provided a separate harmonic background. Their use also became more fragmentary, serving to enhance the timbre of particular phrases, chords or cadences. Early concerti by C.P.E. Bach in the 1740’s featured an accompaniment of strings, harpsichord, and sometimes two horns. By 1750 C.P.E. Bach composed his Concerto in D, H.433, which included optional wind parts of two oboes, two /horns, two flutes (ad lib.), and timpani (ad lib.). Ten years later, however, he was consistently writing parts for flutes and horns within the concerto accompaniment.38 Haydn also included two oboes and two horns in his Symphony No. 3 in G major, written in 1763.39 In ensemble writing of the next forty years, woodwind sections continued to grow in number to include pairs of flutes, oboes, , and bassoons, in addition to horns. The harmonic expansion set the stage for the more independent and solo roles given to woodwinds during the Classical and Romantic eras. Although many forms carried over from the Baroque, hardly any new forms appear at the beginning of the early Classical. Dance movements were excluded from most forms; C.P.E. Bach and W.F. Bach banned the dance from their sonatas entirely.40 The exception was the minuet, which was now equipped with a trio instead of the Baroque “Minuetto II.” The was continued in England well into the 1760’s but died out in the European continent around 1750, possibly due to the popularity of the Mannheim symphony.

37 Blume, Classic and Romantic Music, 34.

38 Hans-Günter Ottenberg, Carl Philipp Emanuel Bach (New York: Oxford University Press, 1987), 233.

39 Donald Grout and Claude Palisca, A History of Western Music, 4th ed. (New York: W.W. Norton & Co., 1988), 588.

40 Blume, Classic and Romantic Music, 56.

18

In contrast, the solo concerto became an instrumental vehicle for virtuosic display similar to the Italian opera aria for the vocalists, and even borrowed the ritornello form. Ritornello form, or structure, pertained to the alternation of passages for the entire orchestra, called the tutti (Italian for “all”), and lightly accompanied passages for the soloist with continuo accompaniment. The tuttis restated various parts, from the opening ritornello (providing stability) and concluded with a final statement of all or part of the opening material. “Equally crucial is the presence of modulations, so that successive ritornellos are usually in different keys, the first and last in the tonic. Most of the modulations take place during the solos, so that the opening of each ritornello serves as a point of arrival. In other words, the ritornellos are the main guide posts of the movement, each one confirming any modulation that has taken place during the preceding solo section.”41 Johann Sebastian Bach was responsible for the transfer of the Italian ritornello structure to the keyboard concerto in North Germany beginning with his Brandenburg Concerto No. 5, completed in 1721, and the many keyboard concerti written between 1730 and 1733.42 His “Italian” concerti included recognizable melodies instead of motives that could be fragmented and developed, and provided a basic harmonic scheme between sections to provide balance, contrast, and clarity. In comparison, many North German composers, including Hertel, Quantz, C.P.E. Bach, Nichelmann, Christoph Schaffrath, and the Benda brothers composed their concerti in the various ritornello structures to the exclusion of all other forms.

41 Schulenberg, Music of the Baroque, 296.

42 Douglas Lee, “Christoph Nichelmann and the Early Clavier Concerto in Berlin” Musical Quarterly Vol. VII, No. 4 (October 1971), 636.

19

CHAPTER III

CONCERTO IN B-FLAT

Movement One: Allegro

Hertel’s Concerto in B-flat is an excellent example of the galant style with its short phrases, mannered cadences, tonal harmonies, three-part texture, and attention to balance and clarity. The phrases are very clear and regular, most often four bars in length, and frequently separated by cadences and rests. Unfortunately, this gives the movement a fragmented feeling. As Hertel matured in his compositional skills, he was able to connect his melodies much more effectively by using transitional figuration, allowing for a more continuous feeling to the movement. Following the Italian galant model, the melody is presented in the violins only; all other voices provide support. The melodies are elegant, pleasing, lightly decorated with turns, quick trills, and appoggiaturas. Simplicity and transparency is achieved by Hertel’s writing in a three-voice texture, a device he maintained throughout most of his works. For example, when the first and second violins are in unison, Hertel includes separate and bass lines, but when the violins are in harmony, typically in thirds, the viola and bass lines are doubled. The bass pattern, referred to as “Trommel bass,” uses repeated eighth notes to outline the harmonic progression and keep time. Example 2 illustrates the opening half of the first phrase, shown as Theme A, in a three-voice texture over a descending “Trommel bass.”

20

Melody A

“Trommel bass”

Example 2: Hertel, Concerto in B-flat, movement 1, m.1-2

First movements of Hertel’s bassoon concerti follow the five-ritornelli/four-solo plan, typical of outer movements of a concerto, with the orchestra restating the return (Figure 2).

Statements of I & V Modulation Return

R1 S1 R2 S2 R3 S3 R4 S4 R5 ______m.1 21 40 58 76 85 97 105 121 Bb: Bb---- F—C------F---- d d----- Bb Bb Bb

Figure 2: Hertel, Concerto in B-flat, Movement 1, Five-Ritornelli / Orchestra return

The opening orchestra ritornello, R1, presents three distinct themes A, B, and C, and a transitional and closing theme all constructed around similar rhythmic motives of eighth notes, mixed with two sixteenths. The first solo section, S1, follows the ritornello structure without incident or surprise. The A theme is presented in the key of B-flat and outlines the ascending tonic triad and is balanced by a descending dominant chord. The

21

four bar phrase includes long and short appoggiaturas, carefully notated, and ends with a galant cadence. The B theme is constructed in a statement-response style with step-wise motion that connects the orchestra and soloist. The transitional theme, given to the bassoon, allows for figuration before the entrance of the syncopated C theme. The bassoon begins the modulation to the dominant by using technical figuration and cadencing in the key of as expected. Of note, during the closing of S1 is a tritone sequence followed by a half-step resolution that appears in several of Hertel’s concerti and could be considered to be a trademark of his (Example 3).

Theme B

Figuration

Theme C

Example 3: Hertel, Concerto in B-flat, movement 1, m. 24-38.

Reprinted with kind permission of Breitkopf & Haertel, Wiesbaden, Germany

22

Figuration

Tritone Sequence

Tritone Tritone

Example 3 Continued.

The second orchestra tutti, R2, confirms the soloist’s modulation to the dominant and very closely duplicates the opening ritornello. The second solo, S2, corresponds to the Classical/Romantic development and begins the area of modulation and thematic fragmentation. It is thirty-eight bars in length and does not move far harmonically. The bassoon begins in the dominant key of F major with themes A and B, but they are not developed. The bassoon continues with technical figuration over a harmonic progression outlining the circle of fourths that begins the move toward D minor. To reemphasize the key change and close of S2, Hertel includes secondary dominants in the harmony to add tension to a basic I-IV-V-VI progression that cadences in the mediant key of D minor. Hertel minimizes the importance of the third ritornello, R3 by withholding primary themes A and B, a technique favored by the Benda brothers. “This tendency to assimilate R3 into S2-S3 gives the central area of modulation an even stronger solo emphasis and further heightens the contrast to R4. The result of this tendency is an

23

approximation of a four-ritornello-three-solo design in which the entire central modulatory area becomes a unified S2.”43 The bassoon reenters with S3 and a twelve bar development using the closing motive. “It is functionally similar to what later theorists would refer to as sonata-form retransition: its purpose is to lead the musical flow, back to the tonic from the point of furthest harmonic remove, generally the minor submediant or mediant when the movement is in a major key.”44 The final four bars before the return are the most chromatic as tension is heightened by secondary dominants and fully-diminished vii chords. Whereas the first movement of the Concerto in B-flat uses the descending chromatic device pattern very sparingly to add tension, the entire first movement of the Concerto in A (analyzed in the next chapter) is based on the device. The harmony in the Concerto in B-flat is constructed upon a “Trommel bass” that descends from tonic to dominant and back and alternates the relatively dissonant secondary dominant sonorities with consonant major and minor chords. The device is a carry-over from the Baroque and used quite frequently in the galant and is even referred to by Daniel Heartz as “cliché.”45 The return of the opening melody, R4, is initiated by the orchestra in the tonic key of B-flat. The soloist enters for the fourth and final solo section, S4, using a motive from the transitional theme to display the bassoon’s technical capabilities. Hertel, in a very clever move, combines his trademark falling-tritone motive followed by half step resolution with a short version of the descending chromatic progression (Example 4) to add a further degree of tension to the final bassoon cadence. Just a few decades later, are inserted at this point allowing for additional technical flourish by the soloist. The fifth and final ritornello is an exact duplication of the opening ritornello, though the A theme is not repeated again.

43 Shelley G. Davis, “C.P.E. Bach and the History of the Recapitulatory Tutti in North Germany” in C.P.E. Bach Studies, ed. Stephan L. Clark (Oxford: Oxford University Press, 1988), 69.

44 Ibid., 67.

45 Heartz, Music in European Capitals, 417.

24

Tritone Tritone Tritone

Descending Chromatic bass

Example 4: Hertel, Concerto in B-flat, movement 1, m. 118-119.

Reprinted with kind permission of Breitkopf & Haertel, Wiesbaden, Germany

Movement Two: Adagio

The second movement is in the subdominant E-flat major, a favored key relationship for the middle movement, and provides a relaxation in tension. Hertel’s skill as a vocal composer is quite evident in the long, expressive, and vocally conceived melodies of the Adagio movement. Unlike other composers of the time, Hertel precisely notated the duration of his ornaments, including trills and appoggiaturas. Even though the melodies are not overly decorated, each ornament is part of the line, not an addition. The movement includes four ritornelli surrounding three solo sections (Figure 3). This is the favored plan by C.P.E. Bach in the second movements of his early concerti, and it anticipates the overall ritornello solo plan associated with Mozart’s concerti.46

46 Davis, “C.P.E. Bach,” 72.

25

Statements of I & V Modulation Return

R1 S1 R2 S2 R3 S3 R4 ______m.1 16 29 32 47 50 62 Eb: Eb--Bb Bb---- g---- Eb Eb Eb Eb

Figure 3: Hertel, Concerto in B-flat, Movement 2, Four Ritornelli / Orchestra-Return

The harmony is very conservative, moving only to the dominant B-flat and the mediant G minor. Two cadenzas help articulate the structure; the first cadenza is designated by a tonic six-four chord and separates the end of the first solo and the second orchestral tutti. The second cadenza occurs in the final bassoon passage separating the third solo section from the final orchestral ritornello. Hertel writes out both cadenzas. Within the first ritornello, there are three clearly defined themes and a closing melody (Example 5). The lyrical four bar A theme rises and falls around a dotted-eighth and sixteenth rhythm. The B theme, in contrast, is calm and sparse and is comprised of eighth and quarter notes that outline the dominant, B-flat. The short, two measure C theme features the long still over the dominant harmony followed by the release of tension and the transition back to tonic in the closing melody. The themes flow into one another very gracefully without transition material. As in most of Hertel’s concerti, the first entrance of the bassoon is prepared by a full cadential break.

26

A Theme

C Theme B Theme

Closing

Example 5: Hertel, Concerto in B-flat, movement 2, m. 1-15.

Reprinted with kind permission of Breitkopf & Haertel, Wiesbaden, Germany

Over a sparse accompaniment, the bassoon enters S1 with a restatement of themes A and B in tonic. The melodies, ornamented with long appoggiaturas, are placed in the vibrant middle register of the bassoon, which allows for a clear and beautiful first statement by the soloist. The closing theme is omitted in order to harmonically prepare the first cadenza. The cadenza is no more than a trill, which concludes the first solo section in the dominant, as expected. The second orchestral tutti, R2, is only four bars long, stating the A theme. The bassoon enters with the B theme but does not begin the modulation to G minor until the C theme. At the end of S2, in an awkward move, Hertel inserts new material in the bassoon

27

line that has no other function than to set-up the orchestra return of tonic and primary material. The orchestral return is in the initial key E-flat using the A theme. The bassoon enters with the B theme for the fourth and final solo and is answered by the orchestra. The C theme would normally follow; but quite unexpectedly, the bassoon plays a D-flat and continues to develop the B theme in F minor. After a transition through a circle of fifths, the orchestra returns to E-flat and prepares for the second cadenza. The final ritornello in the orchestra is the same as R1, but without the A theme.

Movement Three: Allegro ma non presto

The third movement is composed in 3/8 with the feeling of a dance movement. It is graceful, elegant, and consistent in its phrase structure. Four ritornellos are interspersed with three solo sections, as in the second movement. This time, however, the soloist rather than the orchestra plays the return which is the preferred pattern for third movements in C.P.E. Bach’s early concerti (Figure 4). This approach was also used regularly by the Grauns, Nichelmann, Franz Benda, and most often by J.C. Bach.47

Statements of I & V Modulation Return

R1 S1 R2 S2 R3 S3 R4 ______m.1 42 71 111 144 169 201 Bb: Bb--F--F F--g-- g----BbBb Bb

Figure 4: Hertel, Concerto in B-flat, Movement 3, Four Ritornelli / Soloist Return

The movement has slow harmonic rhythm. Only three keys are explored and include three primary themes, a transitional and closing theme. The primary melody, A,

47 Davis, “C.P.E. Bach,” 68.

28

establishes the dance-like feel with a lightly decorated four bar melody. The violins play the melody in thirds while the and accompany in contrary motion thereby creating a clear three-part texture. The contrasting B theme is played at the dominant for four bars and is echoed in the tonic. The C theme, the longest of the movement (ten bars), is made-up of a two bar descending sequence that emphasizes the second beat metric displacement over a steady bass rhythm. The arpeggiated transitional theme is four bars long and is echoed at piano, followed by an emphatic closing melody. The first solo section, S1, follows the first ritornello with the A theme stated in tonic and echoed at the subdominant. The B theme begins at the dominant, but instead of resolving moves to the deceptive submediant key of G minor. Hertel uses the diversion to add idiomatic passage work that leads back to the expected key of F major. The second orchestral ritornello is an exact duplicate of the first except at the dominant. The second solo section, which begins the development, does not contain any distinct thematic material but begins immediately with scalar and triadic figuration. The notes become faster and more intricate, as the section continues, before cadencing in G minor. In R3 modulation and sequencing is continued in the orchestra using the B theme in a circle of fourths and the C melody in a two bar descending sequence, which also serves to return to the original key of B-flat. Hertel sets up the return with the transition from the mediant D minor to the entrance of the bassoon in B-flat major and the primary theme. The themes A and B are stated in their original form, but the bassoon continues with its final display of virtuosity by sweeping up the scale, using sequential leaps with quick trills and other rhythmic figuration that lead toward a dramatic close. The orchestra concludes the concerto with a statement of the A, transitional, and closing themes. Hertel’s Concerto in B-flat is technically the least demanding of the three concerti examined in this treatise but the technical concerns are by no means trivial. The writing is very idiomatic for the bassoon. Although the figuration demands a certain degree of proficiency with octave and tenth leaps and extended sixteenth note passages, it would be accessible to a skilled amateur. Hertel composed in the then current galant fashion with beautifully constructed melodies and straight forward harmony, yet he is able to add surprise and satisfaction all within the traditional form.

29

CHAPTER IV

CONCERTO IN A MINOR

Movement One: Allegro con spirito

The Bassoon Concerto in A minor is unique in the Hertel library and is vastly different from his other concerti. Most strikingly, the concerto is one of the few examples of Hertel’s music written in a minor key. Major tonalities were preferred in the galant, and outweighed minor modes at a ratio of three to one. The opening movement is also written in 3/4, an unusual choice for Hertel, and discouraged by Quantz in his flute treatise Versuch einer Answeisung die Flöte traversiere zu spielen (1752), stating that the meter should be reserved for the weighty arias in opera seria.48 The mood is not galant, but energetic and disruptive almost to the point of anger. With the quick , minor mode, large leaps (measure 2), sudden dynamic changes, abundant dotted rhythms, and agitation it is characteristic of a rage-aria, popular during the first half of the eighteenth century. The bassoon concerto is remarkably similar in form, melodic construction, and rhythmic patterns to Carl Philipp Emanuel Bach’s Harpsichord Concerto in D minor, Wq. 23, written at the court of Frederick the Great in 1748. Hertel was granted a one-year leave from 1747-1748 to study at the Berlin court--composition from Carl Graun, violin with Franz Benda, and harpsichord with C.P.E. Bach. It is also stated in his autobiography that Hertel was given pieces by C.P.E. Bach for study, and it is probable that Hertel came in contact with the Harpsichord Concerto, Wq. 23. By comparing the formal structure and opening ritornello of each concerto, the influence of C.P.E. Bach on Hertel’s Concerto in A minor may be clearly seen.

48 Heartz, Music in European Capitals, 418. 30

The two concerti are written in minor keys, 3/4 time over a descending “Trommel bass.” Each begins with a tonic chord that leaps down an octave on beat two followed by stepwise motion (Example 6 and 7). The second bar begins on the fifth scale degree and resolves by an octave leap down. Both contain short trills, dotted rhythms and similar melodic leaps creating a phrase full of emotion, almost violent in character. Although the opening eight bars are very similar in the two concerti, there are harmonic and melodic differences worth noting. Both concerti contain an octave leap down in bar two. Bach, however, adds an additional octave on the third beat and thereby creates a metric displacement in the second bar (Example 7). The meter is not clearly defined again until the fifth measure and does not cadence until bar eight on a half cadence. In contrast, Hertel includes a glissando into the third bar thereby defining the meter, and produces a neat eight-measure antecedent and consequent phrase ending with a galant cadence (Example 6). A descending “Trommel bass” propels the agitation of both concerti. C.P.E. Bach’s progression is relatively consonant, consisting of mostly major and minor chords, though he chooses to add dissonance and shock through the extra long appoggiatura. Hertel uses an extremely chromatic descending harmonic line, a carry-over from the Baroque and reminiscent of J.S. Bach. One example of J.S. Bach’s chromaticism may be seen in the “Crucifixus” from Bach’s Mass in B Minor, BWV 232, written in 1733, which features a chromatically descending bass line from tonic to dominant and was traditionally used in the Baroque to symbolize death.49 Hertel uses a similar progression of secondary dominants and augmented sixth chords alternating with major and minor chords as the harmonic foundation of the first movement of the bassoon concerto to prolong the tension.

49 Charles Burkhardt, Anthology for Musical Analysis, 6th ed. (Belmont: Schrimer, 2004), 121-123. 31

i V6 v6 IV6 iv6 F+6 V V7 Galant cadence

V6/iv iv V i Example 6: Hertel, Concerto in A minor, movement 1, m. 1-8.

Reprinted with kind permission of Breitkopf & Haertel, Wiesbaden, Germany

Additional Metric displacement octave

1 2 3 1

i v6 VI III6

Appoggiatura H.C.

iv III viio6 i V

Example 7: C.P.E. Bach, Concerto in D minor, Wq. 23, movement 1, m. 1-8.

Reprinted with kind permission of Breitkopf & Haertel, Wiesbaden, Germany

32

The contrasting secondary theme in both concerti is in the relative major, a favorite device of Jommelli,50 and offers an emotional reprieve with its cheerful dotted rhythms. The C theme returns to minor in each concerto, but Hertel’s melody is more melancholy in character. The D theme builds tension with driving eighth notes and dissonant harmonies and is echoed at a piano level, similar to the Bach concerto. The opening ritornello closes in the tonic key in preparation for the soloist. Typical of Hertel’s concerti, the orchestra makes a full break before the entrance of the soloist, unlike the Bach concerto. The bassoon enters in the tonic with a melody that is based on the A theme, but it is more lyrical and less dissonant in the harmony. In contrast, the Bach concerto immediately begins figuration that is loosely based on the A melody. The solo is interrupted after the first phrase with an interjection by the strings and a full statement of the A theme. The interruption device was popular among North German composers, notably in the clavier concerti of Christoph Nichelmann, one of two accompanists for Frederick the Great.51 The bassoon proceeds with the B theme in C major followed by a one bar interruption of the A theme in G Major. The transition to the second ritornello features Hertel’s signature falling tritone device, followed by figuration. The second orchestral tutti restates the themes in the relative major key of C, thereby reinforcing the modulation made by the bassoon and providing structural stability. The developmental section of the bassoon concerto displays an intriguing design and innovation. The bassoon begins the development with a statement of the A theme in C major as the orchestra continues to interject. After cadencing in D minor, the orchestra begins R3. In the Concerto in B-flat, primary themes, mostly A and B, were withheld in order to minimize the importance of R3. However, in the Concerto in A minor, a full statement of the A theme is played, followed by C and D, and oddly, the bassoon enters with the closing melody. The entrance of the bassoon marks the third solo, S3, and begins the transition to F major. The orchestra return is expected to follow, but the primary key of A minor has not been re-established. Instead, Hertel inserts an orchestral statement of the D melody without the echo, still considered part of the solo section S3.

50 K. Marie Stolba, The Development of Western Music, 2nd ed. (Madison, WI: Brown & Benchmark, 1994) 371.

51 Lee, “Christoph Nichelmann,” 651.

33

What follows is the most astounding aspect of the entire concerto. The bassoon enters with the opening theme A, in the key of F major, creating a false return in the submediant key! After eight bars the bassoon modulates back to the tonic key, and the orchestra enters with a double return52 of the main theme in the tonic key of A minor (Figure 5). Bach’s Concerto in D also contains a false recapitulation. It is initiated by the orchestra as part of the third ritornello R3 in the dominant minor key of A. The soloist enters S3 in A minor but re-transitions back to D minor for the true return, R4 (Figure 6).

Statements of I & V Modulation Return

R1 S1 R2 S2 R3 S3 False R4 S4 R5 Return ______m.1 33 77 104 137 154 175 183 190 232 a: a---C C C---- d d----- F--a a a a

Figure 5: Hertel, Concerto in A, movement 1, Five-Ritornelli: Orchestra Return

Statements of I & V Modulation Return

R1 S1 Cadenza R2 S2 R3 S3 R4 S4 Cadenza R5 False Return ______m.1 44 91 98 126 202 221 253 262 306 313 d: d--Bb Bb g g---a a a--d d d d d

Figure 6: Bach Concerto in D, movement 1, Five-Ritornelli: Orchestra Return

52 Schulenberg, Music of the Baroque, 320.

34

Although longer and more complex than the Concerto in B-flat, the first movement of the Concerto in A minor maintains a clear formal design. The alternation between ritornello and soloist remain very regular. By following a traditional structure, Hertel is able to experiment with a variety of new gestures such as the minor mode, ¾ time, interruptions, false return, and relating the movements through keys. Other mid- century composers such as Hasse and C.H. Graun favored the same form and gestures, but the abundant similarities to the harpsichord concerto suggest that Hertel’s Bassoon Concerto in A was influenced by C.P.E. Bach.

Movement Two: Grave

The slow movement is typically in the relative major key of C, though the mediant or the submediant was also acceptable in the early Classical concerto.53 Hertel chooses F major, the submediant and the key of the false recapitulation from movement one. The movement is in the form of four-ritornelli-three solo with an orchestra return (Figure 7).

Statements of I & V Modulation Return

R1 S1 R2 S2 False R3 S3 Cadenza R4 Return ______m.1 8 17 21 30 34 36 44 45 F: F--C C C--a a------F--- F F F F

Figure 7: Hertel, Concerto in A, movement 2, Four Ritornelli / Orchestra-Return

The first ritornello begins in F major and modulates during R2 to the dominant, as expected. Three themes are presented in the opening ritornello. The regal A theme is built on dotted-eighths and sixteenths and suspensions. The similarity to the A melody of the slow movement of the Concerto in B-flat is striking and shows Hertel’s ideas, not C.P.E. Bach’s influence. The B theme is full of grace and charm and demonstrates the

53 Lee, “Christoph Nichelmann,” 645. 35

long appoggiatura and the galant cadence. The last theme, C, builds tension through ornamentation and faster rhythms ending with an imperfect authentic cadence and the arrival of the soloist. The bassoon enters S1 in F as expected, and modulates to C major. The strings re-enter the second ritornello also at the dominant, C. The bassoon begins the modulatory section in C but does not transition back to F major as expected. Instead, the bassoon transitions to the key of the first movement, A minor, and the orchestra enters with a false return. Interestingly, the false return is in the key of the first movement. The orchestra transitions back to F major for a true return of opening material and R3. The bassoon participates in the exchange of themes and ends with a brief cadenza that is written out by the composer. Although it is straightforward in its harmony and musical dialogue between soloist and orchestra, the second movement is very expressive and less fragmented than the first. Even the phrase lengths are more regular. The movement also demonstrates Hertel’s skill in writing beautiful, vocally-conceived melodies.

Movement Three: Allegro di molto

The third movement of a Classical concerto is typically in a rondo form but may also be in four-ritornelli three-solo form. Hertel uses neither in this case. Instead, the movement is written in a combination rondo and five-ritornelli four-solo form (Figure 8).

Intro Intro Return R1 S1 R2 S2 R3 S3 R4 S4 R5 ______m.1 32 85 117 158 177 189 197 247 d: a--C F--C C--d g g d d--a d--a

Figure 8: Hertel, Concerto in A, movement 3, Rondo/Five-Ritornelli / Orchestra return

The third movement should begin in A minor but instead begins in D minor creating an introduction to the first solo and not defining the tonality until much later. 36

C.P.E. Bach employed a similar device in the second movement of his Concerto in D minor with an introduction in D minor, the key of the first movement, thereby bridging the two movements and only later defining the key of F major. Quantz also utilized this device in several of his flute concerti and may even have provided C.P.E. with the model for the work.54 After a presentation of three themes in a tonally unstable first ritornello, the orchestra eventually moves to the expected key of A minor. The bassoon enters with a more lyrical variation of the primary melody in A minor. However, the orchestra interjects back in the key of D minor, resulting in a lack of tonal center. The bassoon restates the melody in D minor but transitions to C major, the typical way to end an S2 section. Oddly, there is a complete break of a quarter-note beat before R2, serving to separate the sections very dramatically. The R2 section is expected to be stated in C major. Instead the primary theme in F and continues with sequences and finally transitions to C major for the second solo entrance. S2 is normally the area of instability, but due to the lack of harmonic stability thus far, Hertel writes technical figuration. Within this demanding section, Hertel writes sixteen measures of continuous sixteenth notes. The passage is long for a wind player and is typically avoided in Hertel’s bassoon concerti. The third ritornello once again is separated by a rest after the solo section and continues the harmonic instability in the key of G minor, punctuated by technical flourishes in S3 by the bassoon. The return, R4, is similar to the beginning and replays the primary theme in the key of D minor. However, the bassoon also re-enters S4 in D minor for a final flurry of technique, with a transition back to A minor. The final ritornello, R5, is separated by a rest and again begins in D minor. It is only the last five bars that clearly reaffirm the key of A minor. Harmonically, the movement is very unstable with secondary dominants as the basic device. To balance the instability, the phrase structure is very consistent--typically four bars--and contains only three themes. Throughout the entire concerto, only four keys are used (A, C, D and F), all of which serve to reinforce the tonal relationship between movements. Although the Concerto in A minor is not dated, a comparison with C.P.E. Bach’s Concerto in D minor, written in 1748, clearly places the bassoon concerto around the

54 Schulenberg, Music of the Baroque, 319. 37

same time. The influence of C.P.E. Bach may explain the new elements in Hertel’s writing, such as chromatic harmony, false returns, harmonic relationships between movements, and extreme emotionalism. This description would be very fitting for C.P.E. Bach, but it is a very different style for Hertel. Hertel’s Bassoon Concerto in A may have also been written and performed while in Berlin in 1747-48 for the weekly concert societies that were directed by the royal musicians and were used to promote the latest compositions.

The concerts of the society always began with an overture or symphony by one of the best masters, followed by seven, or at most eight, other compositions, consisting of concertos, trios or solos. Musicians who were members of the royal chapel but not members of the society often loaned their talents to the concerts. Marpurg names several string players, including Georg Zarth, in this category, along with two players and three bassoonists. Visiting composers were known to bring their music to the concerts.55

Although Hertel experiments with new devices in the Concerto in A minor, he continues to maintain galant ideals by composing in clear and regular phrases, beautiful melodies, and idiomatic writing for the bassoon. It is a remarkable work and probably the most widely known of the three bassoon concerti.

55 Heartz, Music in European Capitals, 415.

38

CHAPTER V

CONCERTO IN E-FLAT

During the second quarter of the eighteenth century, winds began to appear in the concerto accompaniment, and they provide a valuable tool with which to date works of this period. C.P.E. Bach included horns within his concerti as early as 1740 (Concerto in F for two , Wq 46) and cautiously added flutes or oboes alongside horns in his concerti of the 1750’s. By the 1760’s winds were consistently used in C.P.E. Bach’s concerti, the most common combination being two flutes and two horns.56 Hertel’s Symphonies in D and G, dated 1761/62 by Marcel Pusey, include two flutes, two oboes, and two horns, though neither symphony uses winds in the slow movement.57 Hertel’s in D, No. 3 is estimated, on stylistic grounds by Reine Dahlqvist, to have been composed around 1760 and does not contain winds at all.58 While Hertel did not date the majority of his works, two keyboard concerti are dated by the composer.59 The Concerto in A minor of 1772, one of only four keyboard concerti written in a minor key, is scored for string accompaniment only. The Keyboard Concerto in E-flat Major of 1774 has horns in all three movements, and flutes in the slow movement. It is the only one of the five keyboard concerti to include winds.60

56 Ottenberg, Carl Philipp Emanuel Bach, 233.

57 Pusey, “Two Symphonies by Johann Wilhelm Hertel.”

58 Tarr, preface to Concerto No. 3 in D Major for Trumpet.

59 Hertel, Keyboard Concertos, ix.

60 Ibid., x.

39

The Bassoon Concerto in E-flat is similar in instrumentation to the Keyboard Concerto in E-flat. It also includes two oboes alongside two horns in the outer fast movements and two flutes in the second movement. The combination of oboes and flutes is significant in Hertel’s concerto repertoire and probably places the Bassoon Concerto in E-flat among his latest works. It is likely that this concerto was composed in the mid- 1770’s.

Movement One: Allegro

The first movement is one-hundred and seventy bars long, which is quite long when compared to the first movement of the Trumpet Concerto No. 3 and the Symphonies G and D, which are both less than eighty bars in length. The structure of the first movement contains five- ritornelli with an orchestra return, the typical first movement form (Figure 9).

Statements of I & V Modulation Return

R1 S1 R2 S2 R3 S3 R4 S4 R5 ______m.1 26 51 69 88 100 114 119 150 Eb: Eb---- Bb Bb--C- C c----- Eb Eb Eb

Figure 9: Hertel, Concerto in E-flat, movement 1, Five-Ritornelli / Orchestra return

Many of the galant ideals are discarded. Long melodies found in the previous bassoon concerti are replaced with themes that are based around short motivic fragments. Although the melody is most often contained in the violins, other voices, including the winds and bass line, are given occasional melodic importance. In order to maintain a transparent texture, the “Trommel bass” technique is used very sparingly. The galant cadence has disappeared and very conservative counterpoint, mostly thirds and sixths, is

40

reinstated. Themes and sections flow gracefully into one another and actually help define the meter without any of the awkwardness found in earlier concerti. The extensive first ritornello contains six distinct rhythmic or melodic themes, and a closing melody, and is quite complex in its construction. The orchestra begins in unison, a favorite Hertel device, with the melody presented by the violins and supported in various ways by the oboes, horns, violas and cellos. The primary theme, A, is a four- bar phrase that combines an outline of the tonic triad alternated with short trills, resembling primary themes written by Jommelli.61 The oboes reinforce the introductory violin motive but are primarily used to outline melodic highpoints. The horns, violas, and cellos also reinforce the first three notes of the violin motive, but continue with a rhythmic fragment that not only outlines the harmony but continues almost as a countermelody. In just the first four bars Hertel demonstrates his ability to use the winds to vary the texture, construct a motive and develop it within a phrase, and give the bass line an interesting yet supportive role (Example 8).

Violin Doubling

Viola and bass Doubling

Theme A

Example 8: Hertel, Concerto in E-flat, movement 1, m. 1-3.

61 Pusey, Two Symphonies, 3.

41

Maintaining the galant ideals of clarity, Hertel separates the A and B theme by a full cadence and rest. The B theme provides rhythmic contrast with off-beats and downward scales in the first violins and first oboe with the second violin and second oboes a third lower. The horns, violas and basses contrast the syncopation with a sturdy accompaniment that emphasizes beats one and three. The C theme displays a rare four-voice texture with a prominent bass line and answering horn calls played in thirds while the violins play repeated sixteenth notes, reminiscent of the old “Trommel bass,” under sustained oboes. The staccato D motive is played forte by the entire orchestra and echoed piano by the violins, and restated forte again by the orchestra. The rising E theme is given to the oboes, played in sixths, and resembles melodies found in the first movement of Hertel’s “Concerto à Cinque” for Trumpet, two oboes, and two bassoons. The F theme features dialogue starting with the horns, violas, and cellos in a triadic outline and answered by the violins in a downward scale with a long appoggiatura. Finally, the driving closing melody is most prominent in the viola and cello line with an arpeggiated bass pattern outlining I-IV-V-I. A strong two-bar cadence followed by a complete break announces the end of thematic presentation and the entrance of the soloist (Example 9).

42

Four Voice Texture Theme B

Theme C

Example 9: Hertel, Concerto in E-flat, movement 1, m. 4-25.

43

Theme D

Theme E

Example 9 Continued.

44

Theme F

Violin answer

Theme F

Example 9 Continued.

45

Closing Theme

Extension

Example 9 Continued.

46

The bassoon enters S1 with a new melody not seen in the orchestra. It is also used to define the other important solo sections, S2 and S4, referred to in this treatise as the primary bassoon theme. The theme is lyrical and demonstrates the bassoon’s beautiful tenor range (Example 10).

Example 10: Hertel, Concerto in E-flat, movement 1, m. 26-27.

The secondary theme is also new, consisting of a simple two-bar melody with stepwise-motion and wide leaps which displays the versatility of the bassoon. The third bassoon theme is a variation of the opening theme and shows the composer’s maturity in his avoidance of metric displacement. In order for the soloist to breathe, the variation of the A theme from R-1 cannot begin with a pick-up note after beat four. However, if the rhythm is played exactly, beginning after beat one, it will create accents on the beats two and four. To avoid the problem, Hertel adds two additional eighth notes on the third beat and creates an inverted variation of the melody (Example 11).

Example 11: Hertel, Concerto in E-flat, movement 1, m. 38-39

After the bassoon’s third phrase, the orchestra interrupts with one bar of the A melody, similar to the interruption technique of the Concerto in A minor, but in this instance it may be viewed as a false entrance of R2. In the A minor concerto, the bassoon would continue despite the interruption. Instead, the bassoon answers the orchestra and continues with technical flourishes and modulates to the dominant. The second ritornello

47

restates all of the themes in the dominant and provides an anchor to the overall structure of the movement. S2 begins with the bassoon theme. The orchestra interrupts numerous times in a variety of keys and is answered by the bassoon briefly but continues with a development of the theme and a modulation to the relative minor. R3 follows, but, as in the Concerto in B-flat, primary themes A and B are withheld to lessen the importance of R3. The third solo is a very short five bars long, and functions as a retransition back to the tonic key of E-flat major. In a very clever move, Hertel creates a false return by establishing the tonic key and beginning the primary theme. The bassoon interrupts, however, with continued technical development for an additional four bars. The orchestra introduces the primary theme again, but it is clearly not the return because the key is G minor. The bassoon answers a final time and, after a transition back to E-flat, plays the true return. The bassoon enters S4 with the primary bassoon theme and continues with scalar flourishes. Amid interruptions by the orchestra, the bassoon answers with the inverted and off-set version of the A theme. By adding the off-set theme a second time within the movement, symmetry is achieved instead of the perception of random melodic insertions. In Classical concerti, a cadenza would be placed at the end of S4, and it is a bit surprising that such a late concerto does not contain a cadenza. After a dominant trill, however, the bassoon section closes and the final ritornello ends the movement.

Movement Two: Con affetto

The second movement is scored for strings with violins con sordini, and two flutes. It is a long middle movement, one hundred sixty-seven bars, compared to the middle movement of Hertel’s Symphony in G (forty-six bars) and Symphony in D (forty- eight bars) and is almost twice as long as typical slow movements by Hertel. The form is a four-ritornelli plan with solo restatement (Figure 10). Shelley G. Davis comments, “This overall format was oftened [sic] used during the second half of the eighteenth century, and it was favoured especially among Mannheim composers.”62

62 Davis, “C.P.E. Bach,” 70.

48

Examples may be seen in the keyboard concerti of the Graun brothers, Nichelmann, and the “Turkish” violin concerti of Mozart in 1775. However, the form usually occurs in outer, fast movements of a concerto. Occasionally the form is used in a slow movement, specifically by in the Keyboard Concerto in F major, and by his brother Franz in the in E major, dated by Douglas Lee to have been written before 1764.63

Statements of I & V Modulation Return

R1 S1 R2 S2 R3 S3 Cadenza R4 ______m.1 37 61 68 93 100 138 139 c: c--g g g--Eb Eb----c c c c

Figure 10: Hertel, Concerto in E-flat, movement 2, Four-Ritornelli / Soloist Return

The movement is in the relative minor, C. The most common choice of a middle movement key was the subdominant, as in the Concerto in B-flat. The submediant and relative minor were also acceptable choices.64 The first ritornello, typically the longest, is constructed with each successive melody more complex than the last. It begins the primary melody with unison violins and doubled violas and basses. The flutes support the violin melody with a countermelody in thirds, creating a galant three-part texture (Example 12). After one bar, the violins divide. The first flute and first violins are doubled and the second flute and second violins are doubled. It is a very inventive change in scoring and shows Hertel's compositional creativity. The B melody continues in the flute and violin pairing and is imitated a bar later by the second violins and second flute. The C melody initiates one- bar imitations of the winds and strings but include a brief imitation by the violas over a separate bass line, creating a short but rare four-voice texture. Continuing in thematic

63 Davis, “C.P.E. Bach,” 71.

64 Lee, “Christopher Nichelmann,” 646.

49

complexity, the D melody features a one-bar imitation of the first and second violins while the first and second flutes are in imitation with a separate melody, supported by a “Trommel bass” line that creates a five-part texture that lasts for nine bars.

Example 12: Hertel, Concerto in E-flat, movement 2, m. 16-19

The E melody is not as complex as the D melody, but it is equally interesting. The first flutes and first violins are paired against the second flutes and second violins. The first flute doubles the first violin an octave higher, and the second flute is an octave higher than the second violin. The melody is the same in all four voices, which creates clarity, but the wide range expands the timbre and texture. The complexity and tension of the closing melody continues to lessen with a typical three-voice texture. The final two bars of the closing melody are marked pianissimo, a rare occurrence of dynamic markings. The first bassoon solo section begins with a statement of the A melody accompanied only by the basses in simple counterpoint. The B melody adds the violins in brief imitation. Continuing to add instruments, the C melody features the bassoon

50

imitated by the first violins, followed by the second violins. To keep the texture light while the bassoon is playing, the violins play their imitation bars only and drop out. The complexity of the D melody is avoided and the ritornello skips to the E melody in a dialogue between the bassoon and strings in thirds, doubled by the flutes. The bassoon continues the second half of the melody against a descending bass line. The strings omit the final three bars and allow the bassoon to conclude in G minor. The orchestra enters forte with a presentation of melodies A and B in the minor dominant, and is continued by the bassoon, S2, with the C melody followed by D and E. The D melody, once again, is the most complex melody within the section. The flutes are holding a unison F while the bassoon ascends in dotted quarter notes (A, B-flat and C), adding tension with every note. The strings pass the descending melody, now pizzicato, from first violin to second violin to viola with the basses resolving the line. The C melody is played again a fourth higher and cadences in the key of E-flat, followed by the E melody. The bassoon concludes the second solo section with the closing melody, accompanied by basses, and cadences in E-flat major. The importance of R3 is once again minimized by the lack of primary melodies. However, the D melody is used in sequence, and retransitions back to the tonic from the furthest harmonic point--in this case, the major submediant. The bassoon announces the return. The orchestra joins with a statement of the C melody in the fourth ritornello, in dialogue with the bassoon. Sequencing and development continue and culminate in a cadenza over a fully diminished seventh chord. Differing from the slow movements of the B-flat and A minor concerti, Hertel does not include his own cadenzas.

Movement Three: Allegro

The third movement demonstrates Hertel’s ability to construct a ritornello using only two melodies in comparison to the seven melodies of the first movement. Once again, it is a long movement, of two-hundred ninety-eight bars. The form is five ritornellos interspersed with four solos and an orchestral return (Figure 11). The

51

movement is in 3/4 with a minuet feel that anticipates the “Tempo di Minuetto” in Mozart’s Bassoon Concerto, K.191.65

Statements of I & V Modulation Return

R1 S1 R2 S2 R3 S3 R4 S4 R5 ______m.1 43 92 134 180 195 223 231 280 Eb: Eb---- Bb Bb--F F F--Eb Eb Eb Eb

Figure 11: Hertel, Concerto in E-flat, movement 3, Five-Ritornelli / Orchestra return

The primary melody is an eight-bar phrase containing antecedent and consequent periods. The antecedent period outlines the tonic triad with the oboes and violins for two bars and is answered by the basses and violas in the third and fourth bar. The consequent period is separated from the antecedent by a rest, creating a clear structure. The B melody, also constructed antecedent/consequent, is in the supertonic key of F minor, and begins with the second violins repeating three quarter-note B-flats. The violas and first violins answer, and form a fully-diminished seventh chord resolving to F minor. Normally another melody is presented. Instead, a duplicate of the B melody, B2, is played down a step in the tonic key of E-flat. The final phrase before the closing melody is a variation of A, referred to as A2. It appears in its complete form in the fourth phrase of the second ritornello, R2, and is used in R3 and R5. The harmonic rhythm is very slow, only changing every two bars, and progressing from IV-I-V-I. The way Hertel uses the melody is very clever. Since it is a sequence, the melody is very useful for key modulations, interruptions, and fragmentation during the middle sections. The closing melody is made of dotted rhythms

65 Peire, preface to Johann Wilhelm Hertel Concerti, Eufoda 1231.

52

with a loud-soft-loud echo and clearly cadences in the tonic E-flat in preparation for the soloist. The bassoon enters S1 with a new melody, C, and outlines an E-flat and resolves downward by step, with appoggiaturas. The second half of the C melody is the consequent portion and outlines a B-flat dominant seventh chord. The orchestra loudly interrupts, which the bassoon ignores and instead begins the B melody. The antecedent/consequent construction of the B melody is very useful for dialogue between the orchestra and soloist. The bassoon begins the melody and the orchestra answers in the consequent period. B2 continues the conversation between the two groups a step down as in the opening ritornello. The bassoon presents three new melodies which are designed to exhibit the soloist’s technical capabilities. The D melody is a legato quarter-note melody filled with long and short appoggiaturas which begins the modulation to the dominant B-flat. The E melody is a set of sequential trills that become faster over the eight bars and segue directly into the F melody. The F melody, seven bars in length, is made from a written- out turn followed by descending thirds, concluding with three bars of descending sixteenth notes that cadence in B-flat major. S1 is filled with wonderfully creative new melodies, but the last eighteen bars of the section do not contain a designated place for the bassoonist to breathe. The fast technique makes it difficult to sneak a breath and it becomes problematic to find a suitable place to break. Hertel is usually very conscientious in his phrase construction for wind players. There is a similar problem in the third movement of the Concerto in A minor when the bassoon has to play nineteen bars of continuous sixteenth notes on a single breath. The second ritornello, R2, emphasizes the sense of clarity and balance by restating the opening material exactly in the dominant key. The middle, modulatory, and developmental solo section, S2, begins in a straight-forward manner with the presentation of the C melody outlining a B-flat dominant seventh chord. However, after two bars the melody is no longer C but has become the D melody. The bassoon further develops the melody with dotted rhythms that are similar to the E melody. After an orchestral interruption, the bassoon continues with the B melody followed by the B2 melody. The

53

next twenty-four bars are filled with various two-bar sequences displaying the bassoon’s flexible character with wide leaps and two-and-a-half octave range before cadencing in F minor. The importance of the third ritornello is minimized by only reiterating the A2 and closing melodies still in the key of F minor. The third solo continues with melodic development of the C melody. The melody is varied but it is able to retain its identity by the opening dominant seventh triad. After a brief interruption by the orchestra, the bassoon restates the C melody a step lower in the manner of the B2 melody. The orchestra attempts to shift the tonal center to G major by interrupting again, but the bassoon begins technical figuration and eventually retransitions back to the home key of E-flat major. Unfortunately, it is a very weak retransition on Hertel’s part. The harmonic progression is ii-V6/5-I-IV6/5-viio resolving to tonic at the return. It is surprising that Hertel writes such a weak cadence at such an important structural point. The return of opening material in the tonic key is presented by a statement of A in the orchestra followed by the bassoon, S4, and orchestra in dialogue with the B1 and B2 melodies. The bassoon restates the D melody and an even further technical elaboration of the E melody. The orchestra extends the E melody another six bars while the bassoon holds long notes. The harmony has the hint of cadenza preparation, and in the first movement of a Classical concerti, a cadenza would be inserted into the final soloist statement of R4/S4. The orchestra finishes the extension with two bars from the closing melody, and the bassoon begins the F melody in its exact form. In the original statement of the F melody within S1, the final three bars of downward sixteenth notes seem rather odd, almost more of an afterthought. However, when it is played in S4 without accompaniment, the F melody becomes a quasi-cadenza. It is also as close to a cadenza as Hertel would write in the fast movement of an instrumental concerto. The orchestra ends the concerto with the final ritornello and the secondary and closing melodies.

54

CONCLUSION

Johann Wilhelm Hertel was a galant composer during the transition from the Baroque to Classical period, but is typically mislabeled as a Baroque composer through lack of understanding of the style. The majority of his compositions were probably composed between 1748 and 1774 during his Schwerin residency. Although it is impossible to date Hertel’s music precisely, comparison with other composers and local trends offer an approximation of the dates of his compositions. The Concerto in B-flat is the least demanding and probably the earliest of the three concerti. The transitions between themes are minimal and awkward creating short and fragmented sections. There is also an insertion in the second movement of unrelated transition material that indicates that Hertel was unsure how to resolve the orchestral return. The structure of the movements is consistent with contemporary trends, but the concerto has almost a formulaic approach. The piece is nevertheless important because it clearly shows the galant style, including mannered cadences, clear phrases, ritornello structure, and three-part texture. The influence of C.P.E. Bach is most apparent in the Concerto in A minor. An examination of C.P.E. Bach’s Concerto in D minor for harpsichord, Wq. 23, composed in 1748, suggests that Hertel was exposed to Bach’s concerto while writing the Concerto in A minor. The surprise gesture of distantly related keys, extreme chromaticism, angry orchestral interruptions, and false returns of the primary material are trademarks of C.P.E. Bach along with the structural experimentation of the third movement. The key of A minor is a rare occurrence in Hertel’s music, and the work is filled with energy and emotion throughout. It is also the most chromatic of the three bassoon concerti and other works examined by the author. The chromaticism, however, does not distort the melody, as it does in the late Baroque, but is contained within the harmony. The phrase structure

55

is very clear with transitional material smoothly connecting the sections, allowing the melodies to flow into one another with few breaks. The movements are also related by the keys A, C, D, and F, and are even anticipated within other movements. All of the elements of Sturm und Drang of the 1770’s are present within the Concerto in A minor. It does not include wind accompaniment and resembles C.P.E. Bach’s Concerto in D minor for harpsichord too closely to have been written any later than the early 1750’s. It is also one of the “more difficult” concerti Hertel listed in his autobiography. The Concerto in E-flat is the most Classical of all Hertel instrumental concerti examined within this treatise. The length is substantial, comparable to an early Mozart Symphony rather than an instrumental concerto. Each movement is longer than even the Symphonies in G and D by Hertel. The melodies are more complex than those in the B- flat or A minor concerti, showing the skill and experience of a mature composer. Winds are used in pairs and given solo prominence in addition to providing changes in dynamics and texture. The piece is very idiomatic to the instrument and makes for enjoyable listening. Hertel employs the same structures throughout all of his concerti, the lack of innovation perhaps due to his conservative employer, Frederick the Pious. By using an established plan of tutti-ritornello that outlines the harmonic and thematic material, Hertel is thereby free to include some inventive surprises, in spite of the restrictions, such as the diversion to D-flat in the second movement of the Concerto in B-flat, the false recapitulations in the Concerto in A minor, and the contrapuntal melodies of the Concerto in E-flat. In the 1960’s Hertel’s “Concerto à Cinque” was published by Walter Sallagar. During the next forty years, three bassoon concerti, three trumpet concerti, a concerto for trumpet and oboe à 6, an , two piano concerti, a concerto for violin, and a study of two symphonies had all been published in modern editions. Today, the majority of Hertel’s works remain in manuscript in Brussels, Belgium and Schwerin, Germany. Johann Wilhelm Hertel’s music is an important example of music around the time of 1748-1775. The form, style and structure of Hertel’s concerti coincide with other North German composers such as C.P.E. Bach, Christoph Nichelmann, Carl Graun and Franz Benda. The concerti are valuable tools with which to discuss the development of

56

galant style, ritornello form, and changes in orchestral instrumentation that began in the second half of the eighteenth century and progressed toward the Classical period. In addition, Hertel’s bassoon concerti provide technical and musical challenges and are worthy of study for both younger and more advanced players. It is hoped that this modest rediscovery of Hertel’s music will serve to introduce his works to current generations.

57

APPENDIX

58

COPYRIGHT PERMISSlON FORM

Vivian Rehman Brcitkopf & Haertel Dept Rights and Permissions P.O. Box 1707 65()07 Wiesbaden Germany

Dear Ms. Rehman:

I am completing a treatise at Florida State University entitled "The Bassoon Concertos of Johann Wilhelm Hertel:" I would like your permission to reprint in my treatise exceJ:pts from the following;

Hertel, Johann Wilhelm. Bassoon Cancerro in B.flatfor Bassoon and Piano (Reduction). London: Musica Rara, 197B. Movement 1, m.4, 24-38, Movcment 2, m .l -15

The requested pennission extends to any future revisions ami editions of my treatise. These rights will in no way restrict republication of the material in any otJJer fonn by you or by others authoriZI:ld by you. This authorization is extended to Univen;ity Microfilms International. Ann Arbor, Michigan, for the purpose of ·reproducing and diStributing copies of this dissertation. Your signing of this letter will also confum that you own (or your company owns} the copyright to the above described material.

rr these arrangements meet with your approval, please sign this letter wher-e indicated below and return to roe. Thank you very much.

Sincerely,

Ashley Heintzen

PER:M:lSSION GRANTED FOR THE USE REQUESTED ABOVE:

Vivian Rehman Breitkopf & Hartel ｗ｡ ｬｫＢ＾ ｵｨ ｬｳｴｲ ｾ ｩｫ＠ 52 Date: Dc--rcJ .Jl-, 2.D.9c; 0·55195 ｗｩｾｳ｢［Ｚｊ､･ｮ＠ Telelon 06l114S008·0 ｲ ･ｲｾ ｲ､ｸ＠ 061J/4S008·60

59

COPYRIGIIT PERMISSION FORM

Rachel Ms.lloch Phylloscopus Publications 92, Aldcliffe Road Lancaster. LAl 5B'E Unite_d Kmgdom

Dear Rachel Malloch:

I am oompleting a treatille at Florida Slate University entitled "The Bassoon Concertos of Johann Wilhelm Hertel." I WO\dd like your P

Hertel, Johann Wilhelm. Concerto in B j/aJfor bassoon and string,s. Movement 1, measure l-2.

- -:--o-::· Concerto in E flat for bassoon with 2 obces, 2 horns in Eb, strings and conlinuo. Movement 1, ｭｾｵｲ･＠ l--4. 38-39; Movement ＲＬ ｭ･｡ｳｾＮ･＠ 16-19.

The requested permission exteo4s to any future revisions and editions of my treatise, including non-exclusi'le world rights in all languages. These rights wm in no way restrict republication of the material in any other form by you or by others authorized by you. This authorizatioo is extended to University Microfilms International, Ann Arl>or, Michigan. for tbe purpose of reproducing and distributing copies of this dissertation. Your signing ofthi s letter will also coofirm that you own [or your company owns) the copyright to tbe above dc::scribro material.

If these arrangements meet with your approval, please sign Ibis letter where indicated below and return to me in the enclosed return envelope. Thaok. you very much.

PERMISSION GRANTED FOR 1liE USE REQUESTED ABOVE:

IW:hel Malloch Date; ｾ＠ · ] tJ.. 2.--00 ｾ＠

60

COPYRIGHT PERMISSION FORM

Rachel Malloch Phylloscopus Publications 92, Aldcliffc Road Lancaster, J,Al 5BE United Kiuguvm

Dear Rachel Malloch:

I am completing a treatise at Florida Stale University entitled "The Bassoon Concertos of Johann Wilhelm Hertel." r would like your permission to reprint in my treatise excerpts from the following:

Hertel, Johann Wtlbelm. Concerto in F: JU:t for bassoon wilh 2 oboes, 2 horns in Eb. strings and continuo. Movement I, measure 4-27.

The requested permission extends to any future revisions and editions of my treatise, including oon-exclusive world rights in all languages. These rights will in no way restrict republication of the material in any other fonn by you ot by others authorized by you. This authorization is extended to University Microfilms International, Ann Arbor, Michigan, for the purpose of reproducing and distributing copies of this dissertation. Your signing of this letter v.ill also c6nfirm that you own [or your company owns} the copyright to the above described material.

If the.-;e arrangements meet with your approval, please sign this letter where indicated below and return to me. Thank you very much.

Sincerely,

Ashley Heiutzen

PERMISSION GkANTED FOR. TilE USE REQUESTED ABOVE:

Rachel Malloch Date: ｦＭｬｾ＠ l Ｈ｡ｾ＠ .UJ(J £ ·

61

62

BIBLIOGRAPHY

Books:

Bach, Carl Philipp Emanuel. Essay on the True Art of Playing Keyboard Instruments. Translated and edited by William J. Mitchell. New York: W.W. Norton & Co., 1949.

Blume, Friedrich. Classic and Romantic Music, A Comprehensive Survey. Translated by M.D. Herter Norton. New York: W.W. Norton & Co., 1970.

Burkhardt, Charles. Anthology for Musical Analysis. 6th ed. Belmont: Schirmer, 2004.

Clark, Stephen L. C.P.E. Bach Studies. New York: Oxford University Press, 1988.

Green, Douglas M. Form in Tonal Music, An Introduction. 2nd ed. New York: Holt, Rinehart and Winston, 1979.

Köenigsbeck, Bodo. Bassoon Bibliography. Monteux, France: Musica Rara, 1994.

Gallagher, Charles C. and E. Eugene Helm. “Introduction” In The Symphony 1720-1840, ed. Barry S. Brook. Ser. C, Germany: Mannheim, South Germany, North Germany, 8: xi-xx. New York: Garland, 1983.

Grout, Donald J & Claude Palisca. A History of Western Music. 4th ed. New York: W.W. Norton & Co. 1988.

Heartz, Daniel. Music in European Capitals, The Galant Style, 1720-1780. New York: W.W. Norton & Co., 2003.

Hill, Ralph, ed. The Concerto. Baltimore, Maryland: Penguin Books Ltd, 1956.

Hutchings, Arthur. The Baroque Concerto. New York: W.W. Norton & Co., 1965.

Mozart, Leopold. A Treatise on the Fundamental Principles of Violin Playing. Translated by Editha Knocker. 2nd ed. London: Oxford University Press, 1959.

Neumann, Fredrick. New Essays on Performance Practice. Ann Arbor, Michigan: UMI Research Press, 1989.

63

Neumann, Fredrick. Performance Practices of the Seventeenth and Eighteenth Centuries. New York: Schirmer Books, 1993.

Ottenberg, Hans-Günter-Hans. Carl Philipp Emanuel Bach. Translated by Philip J. Whitmore. New York: Oxford University Press, 1987.

Pusey, Marcel. A Critical Edition of Two Symphonies by Johann Wilhelm Hertel (1727- 1789). MA. Thesis Musicology, Brigham Young University, 1994.

Pauly, Reinhard G. Music in the Classic Period. 3rd ed. Englewood Cliffs, New Jersey: Prentice Hall, 1988.

Rosen, Charles. The Classical Style, Haydn, Mozart, Beethoven. New York: W.W. Norton & Co., 1972.

Sadie, Stanley, ed. New Grove Dictionary of Music and Musicians. London: MacMillian Publishers Ltd., 1980. S.v. “Johann Christian Hertel.” by Deiter Härtwig.

Sadie, Stanley, ed. New Grove Dictionary of Music and Musicians. London: MacMillian Publishers Ltd., 1980. S.v. “Johann Wilhelm Hertel.” by Deiter Härtwig.

Schulenberg, David. Music of the Baroque. New York: Oxford University Press, 2001.

Scholes, Percy A. ed. An Eighteenth-Century Musical Tour in Central Europe and the Netherlands: Dr. Burney’s Musical Tours in Europe. Vol. II. London: Oxford University Press, 1959.

Seaton, Douglass. Ideas and Styles in the Western Musical Tradition. Mountainview, California: Mayfield Publishing Co., 1991.

Stolba, K. Marie. The Development of Western Music, A History. 2nd ed. Madison, Wisconsin: Brown & Benchmark, 1994.

Veinus, Abraham. The Concerto. New York: Dover Publications, 1964.

Weimer, Eric. Opera Seria and the Evolution of Classical Style 1755-1772. Ann Arbor, Michigan: UMI Research Press, 1984.

Periodicals

Diekow, Reinhard. “Studien über das Musikschaffen Johann Christian und Johann Wilhelm Hertels.” Ph.D. diss., Wilhelm Pieck University, Rostock, 1977.

Edler, Arnfried. “Telemann und Johann Wilhelm Hertel: Eine Musikerfreundschaft,” Telemann und seine Freunde: Magdeburg 1984, 87-94.

64

Hertel, Mary Romana. “Johann Wilhelm Hertel (1727-1789): A 250th Birthday Tribute.” College Music Symposium 18 (1978): 120-30.

______. “The Keyboard Concertos of Johann Wilhelm Hertel (1727-1789).” Ph.D. diss., Catholic University of America, 1964.

Lee, Douglas A. “Christoph Nichelmann and the Early Clavier Concerto in Berlin.” Musical Quarterly Vol.VII, No. 4 (1971): 636-655.

Scores

Bach, Carl Philipp Emanuel. Harpsichord Concerto, BWV. 1052a. with an Introduction by Werner Breig. : Barenreiter, 2000.

______. Harpsicord Concerto in D minor, Wq 23. Wiesbaden: Breitkopf &Haertel, 1956.

Hertel, Johann Wilhelm. Bassoon Concerto in B-flat. ed. with an Introduction by R. Block and H. Voxman. London: Musica Rara, 1978.

______. Concerto in B-flat for bassoon with strings and continuo. ed. with an Introduction by Rachel Malloch. Lancaster, UK: Phylloscopus Publications, 1997.

______. Bassoon Concerto in A minor. ed. with an Introduction by Walter Sallager. Wilhelmshaven: Otto Heinrich Verlag, 1963.

______. Concerto in E-flat for bassoon with 2 oboes, 2 horns in E-flat, strings and continuo (2 flutes, strings and continuo in movement II). ed. with an Introduction by Rachel Malloch. Lancaster, UK: Phylloscopus Publications, 1997. ______. Bassoon Concerto in E-flat. ed. with an Introduction by Rachel Malloch. Lancaster, UK: Phylloscopus Publications, 1997.

______. Keyboard Concertos in E-flat and F minor. ed. with an Introduction by Mary Romana Hertel. Madison, WI: A-R Editions, 1988.

______. Concerto for Oboe in G, ed. with an Introduction by Günther Joppig, Vienna: Universal Edition, 1984.

______. Concerto for Trumpet in E-flat (No.1), ed. with an Introduction by Irmtraud Krüger. Musikverlag: McNaughtan, 1998.

______. Concerto for Trumpet in E-flat (No.2), ed. with an Introduction by Edward Tarr. Monteux, France: Musica Rara, 1972.

65

______. Concerto for Trumpet in D (No.3), ed. with an Introduction by Edward Tarr. Musikverlag: McNaughtan, 1992.

______. Concerto a 6. ed. with an Introduction by Günther Joppig. Monteux, France: Musica Rara, 1972.

______. Concerto a cinque. ed. with an Introduction by Walter H. Sallager. Wilhelmshaven: Otto Heinrich Noetzel Verlag, 1959.

Discography

Johann Wilhelm Hertel Concerti. with a foreword by Patrick Peire. Collegium Instrumental Brugenese. CD Eufoda 1231. Brussels, 1996.

Johann Wilhelm Hertel. with a foreword by B. Delvaille. Record MHS 869. New York, 1968.

5 Bassoon Concertos. with a foreword by Paul Riley. CD Q56177 London, 1996.

Johann Wilhelm Hertel. with a foreword by Douglas Townsend. Record MHS 1040. New York, 1971.

66

BIOGRAPHICAL SKETCH

Ashley Heintzen currently teaches bassoon at Stetson University in DeLand, Florida. She received her High School Diploma from the North Carolina School of the Arts in 1986, where she studied with Mark Popkin; the Bachelor of Music degree in Performance from Indiana University in 1990, where she studied with Sidney Rosenberg; and the Master of Music in Performance from Baylor University in 1993 where she studied with Jennifer Speck. In 1993 she began her studies at FSU, where she pursued a DM in Bassoon with an expected completion in 2006. Heintzen has been the second bassoonist with the Brevard Symphony since 1996 and principal bassoonist with the Bach Festival Orchestra of Winter Park since 1995, and substitutes with throughout central Florida. She is an active recitalist and in January, 2005 presented a lecture recital of selected Hertel concerti including the Bassoon Concerti in B-flat, A minor and the Concerto à Cinque for trumpet, two oboes and two bassoons. She is co-director of the Stetson University Double Reed Workshop and recently transcribed the first movement of Hertel’s Concerto à Cinque for Double Reed ensemble in honor of the Workshop’s 2005 season.

67