INFO RM ATIO N T O U SER S This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road, Ann Ariwr MI 48106-1346 USA 313/761-4700 800/521-0600 THE F MAJOR BASSOON CONCERTO (RTT SCHACHT 30) OF THEODOR VON SCHACHT (1748-1823) D .\L A .. DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Douglas E. Spanioly B.M, M.M. ***** The Ohio State University 1998 D.M.A. Committee: Approved by C.R. Weait, Adviser C.M. Atkinson Adviser R.H. Sorton School of Music UMI Number: 9833936 Copyright 1998 by Spaniel, Douglas E. All rights reserved. UMI Microform 9833936 Copyright 1998, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 Copyright by Douglas E. Spaniol 1998 ACKNOWLEDGMENTS I express sincere appreciation to Professor Christopher Weait for his expertise, encouragement, and support I also extend my gratitude to the members of my document committee. Professors Charles Atkinson and Robert Sorton. I would like to thank E. Sanford Berry for his guidance and mentorship, and William Waterhouse for instilling in me an interest in the historical repertoire of the bassoon, and for his expert assistance with this project. To my wife, Anne, I extend my appreciation for her understanding and patience, as well as her unparalleled proof-reading prowess. I would also like to thank my parents for their support and encouragement over the years. Special thanks are due to Hugo Angerer, curator of the Filrst Thurn und Taxis Zentralarchiv-Hofbihliothek in Regensburg, for making available to me microfilms of this library^s valuable holdings. 11 VITA July 15,1968 Bom - Des Plaines, Illinois 1990 B.M., University of Illinois at Urbana-Champaign 1992 M.M., University of Illinois at Urbana-Champaign 1993 Postgraduate Diploma, Royal Northern College of Music, Manchester, England 1993 - 95 Graduate Teaching Associate, School of Music, The Ohio State University 1995 - 96 Temporary Assistant Professor, Valdosta State University, Valdosta, Georgia 1996 - 97 Assistant Professor, Valdosta State University, Valdosta, Georgia 1997 - present Assistant Professor, Butler University, Indianapolis, Indiana FIELDS OF STUDY Major Field: Music 111 UST OF TABLES TABLE PAGE 1. Musical Budget 1791-1802 18 IV LIST OF PLATES PLATE PAGE 1. Titie page to Rtt Schacht 31/1 36 2- First page of autograph Rtt Schacht 30 49 TABLE OF CONTENTS ACKNOWLEDGEMENTS ii VITA iii LIST OF TABLES iv LIST OF PLATES v CHAPTERS I. THEODOR VON SCHACHT AND HIS MUSIC 1 Biographical Information 1 Mustek Output 6 n. THE HISTORY AND MUSIC OF THURN UND TAXIS TO 180611 History 11 Music at Thum und Taxis in Regensburg 13 Sources 13 Musical Personnel 14 Bassoonists 19 Musical Activities 21 Contemporaneous Accounts 24 m. BASSOON MUSIC OF THEODOR VON SCHACHT 27 Chamber music with bassooniHarmoniemusik 17 Concertos and Concertantes 31 Works with Voice 34 The Three Bassoon Concertos 34 Concerto in Bb (Rtt Schacht 31/1) 34 Concerto in Bb for Two Bassoons (Rtt Schacht 31/11) 38 Concerto in F (Rtt Schacht 30) 47 IV. ANALYSIS OF CONCERTO DI FAGOTTO (RTT SCHACHT 30) 50 Movement I (Allegro) 50 Movement II (Romanze - andantino) 69 Movement in (Variazioni - allegretto) 81 vi V V. CONSIDERATIONS FOR AN HISTORICALLY INFORMED PERFORMANCE 88 The Orchestra at Thum und Taxis 91 Pitch 92 Soloists 93 Bassoon 96 Notated Ornamentation 97 Improvisatory/Additional Embellishment 99 Cadenza and Eingànge 100 Articulation and Phrasing 101 Vibrato 102 Dynamics 103 Tempo 103 Rhythm 106 VI. EDITORIAL PROCEDURE 109 Orchestral Score 109 Solo Bassoon Part, Urtext Edition 113 Solo Bassoon Part, Practical Edition 114 Vn. CONCLUSIONS 115 APPENDICES A. Orchestral Score 119 B. Solo Bassoon Part, Critical Edition 172 C. Solo Bassoon Part, Practical Edition 193 D. Critical Commentary 214 E. List of Chamber and Solo works composed by 225 Theodor von Schacht involving bassoon LIST OF REFERENCES 228 V ll CHAPTER I THEODOR VON SCHACHT AND HIS MUSIC Biographical Information^ Theodor von Schacht was bom in Strasbourg in 1748. His father was an official of the Regensburg court on temporary assignment in Strasbourg at the time.* From 1756 -1766 (ages ca. 8 -18) Theodor worked as a page at the Thum und Taxis court in Regensburg. During this time he studied keyboard and music theory with Johann Jacob Kuffner" (1727-1786) and Joseph RiepeP (1709-1782), both court musicians. In 1766 Schacht moved to Stuttgart where his father began as steward of the household (Kammerherr) to the Duke of ' This biographical information is based largely on the Schacht entries in The New Grove Dictionary of Music and Musicians (Grove)(1980') and Die Musik in Geschicte und Gegenwart (MGGÏÏ1958). (These two articles are both written by August Schamagl. Hence, they are exceedingly similar except that MGG is slightly longer.) Specific citations to other sources have been made where additional information is added. * Jan LaRue, "A New Figure in the Haydn Masquerade", Music and Letters. 40,1959, p. 134. * * This is not Joseph Küffner (1769-1856) known to bassoonists today as the author of 24 Instructional Duets (Vienna. Universal Edition 18120). ' Riepel was a highly regarded composer, theorist, and teacher. He is best known today as the author of Anfan^s^ilnde zur musikalischen Setzkunst. Regensburg, 1752-1768. 1 2 Kail Eugen Württemberg/ Here Schacht studied music with court composer Niccollb Jommelli (1714-1774) who was "important among those (composers) who initiated the mid-lSth century modifications to singer-dominated Italian opera"/ According to Hill, it was Jommelli who led Schacht to a career in m usic/ To this Traster adds, "Under Jommelli's tutelage (Schacht) developed a penchant for Italian opera and gained experience in opera production, which soon proved to be important to his career"/ There is some disagreement as to how long Schacht remained in Stuttgart Grove says. "... from 1766 to 1771 he was a pupil of Jommelli at Stuttgart"’ . The MGG article has slightly different information, indicating that he spent this time in Stuttgart and Wetzler. This is supported by the fact that there is a set of compositions of Schacht dated "Wetzler 1769,1770".' 10 There is also a work housed in the Bischofliche Zentralbibliothek in ’Keams, Andrew: The eighteenth century orchestral serenade in South Germany. PhD thesis: University of Illinois at Urbana-Champaign, 1993, p. 7. * McClymonds, Marita Petzoldt. "Jomelli" in Grove, p. 689. ' Hill, James Walter. The D Major clarinet concerto by Theodor von Schacht (178-1823): A lecture recital, together with three additional recitals of selected works by Brahms. Richmond. Rossini. Crussell. Reger, and others. DMA thesis: North Texas State University, 1986, p. 9. * * Traster, Jeffrey Lynn. Divertimenti and Parthien from the Thum und Taxis court at Regensburg 1780-1823: A source of repertoire for wind ensemble. A.Mus.D.: University of Texas at Austin, 1989, p. 30. •Schamagl, Grove, p. 583. " Schamagl, MGG. p. 1525. 3 Regensburg listed as being composed in Wetzler around 1770.“ However, according to Keams "...in 1776 he went to Stuttgart— From 1776 he held a series of nonmusical appointments at minor courts, although he continued to compose."^ LaRue mentions just one such appointment, saying that Schacht held a position in Wetzlar under Prince von Fürstenberg for a short time." All sources agree that in 1771 Schacht returned to Regensburg, assuming the position of Hofkavalier at Thum und Taxis. In 1773, newly ascended and "musically enthusiastic"" Prince Carl Anselm appointed Schacht Musikintendant. In this position Schacht was responsible for musical direction as well as administration of the music department. According to Angerer, his real dedication lay with the musical duties; he found the administrative tasks burdensome. However, Schacht apparently did an excellent job as an administrator. He hired qualified players and created an efficient ensemble; he acquired music from all over Europe and " Fàrber, Sigfrid. "Der fûrstlich Thum und Taxissche Hofkomponist Theodor von Schacht und seine Opemwerke," in Studien zur Musikgeschichte der Stadt Regensburg I. Regensburg Beitrage zur Musicwissenschaft, Bd. 6, ed. Hermann Beck. Regensburg: Gustave Bosse Verlag, 1979, p. 111. The work in question is Fârber #127, Ouverture in F fur Harmoniemusik. '* Keams, Hom Concertos, p. 7. One can perhaps regard Keams' biographical account as less reliable than Grove or MGG because Keams states that "(Schachfs) early musical training remains unknown", whereas the other two sources provide information on this early training.