$f\ 14 )%ici

o. 510

A STUDY OF THE OBOE CONCERTOS OF JOHANN FRIEDRICH FASCH

WITH A PERFORMING EDITION OF OBOE CONCERTO IN G MAJOR

(KUNTZEL 8^: A LECTURE RECITAL TOGETHER WITH

THREE OTHER RECITALS OF SELECTED WORKS OF

HANDEL, MOZART, BELLINI, POULENC,

BRITTEN AND OTHERS

DISSERTATION

Presented to the Graduate Council of the

University of North Texas in Partial

Fulfillment of the Requirements

For the Degree of

DOCTOR OF MUSICAL ARTS

By

Dwight C. Manning, B.M.E., M.M

Denton, Texas

May, 1994

$f\ 14 )%ici

o. 510

A STUDY OF THE OBOE CONCERTOS OF JOHANN FRIEDRICH FASCH

WITH A PERFORMING EDITION OF OBOE CONCERTO IN G MAJOR

(KUNTZEL 8^: A LECTURE RECITAL TOGETHER WITH

THREE OTHER RECITALS OF SELECTED WORKS OF

HANDEL, MOZART, BELLINI, POULENC,

BRITTEN AND OTHERS

DISSERTATION

Presented to the Graduate Council of the

University of North Texas in Partial

Fulfillment of the Requirements

For the Degree of

DOCTOR OF MUSICAL ARTS

By

Dwight C. Manning, B.M.E., M.M

Denton, Texas

May, 1994

001/

Manning, Dwight C., A Study of the Oboe Concertos of

Johann Friedrich Fasch with a Performing Edition of Oboe

Concerto in G Major (Kiintzel 8) : A Lecture Recital Together

with Three Other Recitals of Selected Works of Handel.

Mozart, Bellini, Poulenc, Britten and Others. Doctor of

Musical. Arts (Performance), May, 1994, 85 pp., 3 figures,

4 examples, appendices containing the musical score,

bibliography, 54 titles.

Johann Friedrich Fasch's music displays a stylistic

variability characteristic among some composers of the

early eighteenth century, a time in which the mature

Baroque style period of Western art music was beginning to

show new elements of the Classical style. Opinions

regarding Fasch's contribution vary from praise for his

role as one of the most important pioneers to simple

acknowledgment as merely one among many significant,

forward-looking, transitional composers.

During the early eighteenth century, a wealth of

fine literature for solo oboe was produced. Current oboe

repertoire includes many standard, mature Baroque concertos

of the early eighteenth century; few works representative

of evolutionary compositions hinting toward the development

of a new historical style period are available. The

primary purpose of the lecture recital is to introduce to

the oboe repertoire an edition of a concerto by Fasch, one

representative of the transition from Baroque to Classical

eras.

In 1965, Gottfried Kiintzel catalogued Fasch's

concertos, which are represented here as a K. number. Of

Fasch,rs twelve concertos for solo oboe, five have been

lost, five have been published, and two remain unpublished.

An edition of the full score along with an orchestral

reduction for oboe and piano of Oboe Concerto in G Maior

fK. 81> are included in the appendices.

Tape recordings of all performances submitted as

dissertation requirements are on deposit in the University

of North Texas Library.

111

Copyright by

Dwight C. Manning

1994

IV

ACKNOWLEDGMENTS

For support toward completion of the degree of

Doctor of Musical Arts, I wish to acknowledge the Sarah H.

Moss Endowment, administered by the Office of Instructional

Development at the University of Georgia.

For assistance and inspiration in the preparation of

the present edition of music, I wish to thank Dr. Egbert

Ennulat, Professor of Music at the University of Georgia,

and Dr. David Ledet, University of Georgia Professor

Emeritus.

For the many years of patient encouragement, I wish

to express my deepest appreciation to Dr. Richard Henderson

of the University of Texas at El Paso, and Dr. Charles

Veazey of the University of North Texas.

Dwight Manning

September, 1993

Athens, Georgia

v

TABLE OF CONTENTS

Page

FIRST DISSERTATION RECITAL vii

SECOND DISSERTATION RECITAL viii

THIRD DISSERTATION RECITAL ix

FOURTH DISSERTATION RECITAL xi

LIST OF FIGURES xii

LIST OF EXAMPLES xiii

Chapter

I. INTRODUCTION 1

II. THE LIFE AND WORK OF J. F. FASCH 4

Fasch's Life Fasch's Work

III. FASCH'S OBOE CONCERTOS 9

IV,. EDITORIAL PROBLEMS AND PERFORMANCE PRACTICE . . 18

Editorial Problems Performance Practice

Ornamentation Articulation Dynamics Period Oboes

V. SUMMARY AND CONCLUSIONS 3 0

APPENDIX A 32

APPENDIX B 63

BIBLIOGRAPHY 81

VI

North Texas State University School of Music

Graduate Recital

DWIGHT C. MANNING, Oboe

Assisted by:

Rose Marie Chisholm, Piano Glen Hemingson, Clarinet Laura Finnell, Bassoon

Richard Beck, Horn

Monday, March 25, 1985 8:15 p.m. Concert Hall

Oboe Concerto in D Minor Op. 9 Tomaso Albinoni Allegro e non presto (1674-1745) Adagio Allegro

Sonata for Oboe and Piano (1962) Francis Poulenc Elegie (1899-1963) Scherzo D§ploration

Intermission

Quintet in Eb for Piano and Winds K. 452 W. A. Mozart Largo - Allegro moderato (1756-1791) Larghetto Allegretto

Presented in partial fulfillment of the requirements for the degree of

Doctor of Musical Arts

Vll

North Texas State University School of Music

Graduate Recital

DWIGHT C. MANNING, Oboes

Assisted by Rose Marie Chisholm, Piano Patrick. Allen, Harpsichord Thomas Beers, Bassoon

Monday, April 7, 1986 6:30 p.m. Concert Hall

Six Metamorphoses After Ovid Op. 49. . . Benjamin Britten 1. Pan (1913-1976) 3. Niobe 4. Bacchus 5. Narcissus 6. Arethusa

Trio Tabuteau Norman J. Nelson (b. 1943)

Variations on a Theme of Beethoven. .TheodorH. Leschetizky

(1830-1915)

Intermission

Sonata in g minor Georg Phil ip Telemann Adagio (1681-1765) Alia Breve Adagio Allegro

Oboe Concerto Ralph Vaughan Williams Rondo Pastorale (1872-1958) Minuet and Musette Finale (Scherzo)

Presented in partial fu l f i l lment of the requirements for the degree of

Doctor of Musical Arts

V l l l

rr -k f / ^ % / I q / J / 1 / v / Ch/i<4 $ Q4 /+

V

presents

A Graduate Recital

DWIGHT MANNING, oboe assisted by

Suzanne Key Pagan, piano Rebecca Henderson, oboe

Monday, November 11, 1991 5:00 p.m. Concert Hall

Concerto Grosso in B-flat Adagio Allegro Largo Vivace

G. F. Handel (1685-1759)

Trio Sonata No. 6 in C Minor Andante Allegro Adagio Allegro

G. D. Zelenka (1679-1745)

• pause -

Seven Bagatelles for Solo Oboe / . March 2. Elegy 3. Waltz 4. Slow Air 5. Limerick 6. Chinese Tune 7. Galop

G. Jacob (1895-1984)

I X

Sonata in B Minor for Oboe and Piano G. Raphael Moderate (1903-1960) Allegro molto Andante con moto Grazioso e comodo

Concerto for Oboe and Strings in E-flat V. Bellini Maestoso e deciso - larghetto cantabile - Allegro (1801-1835)

Presented in partial fulfillment of the requirements for the degree of

Doctor of Musical Arts

x

University of North Texas

College of^hm presents

A Graduate Lecture Recital

DWIGHT C. MANNING, oboe assisted by

Suzanne Key Pagan, piano

Monday, November 22, 1993 6:15 pm Recital Hall

A STUDY OF THE OBOE CONCERTOS OF JOHANN FRIEDRICH FASCH

WITH A PERFORMING EDITION OF OBOE CONCERTO IN G MAJOR (KUNTZEL 8):

- Intermission -

Oboe Concerto in G Major (K.8) Johann Friedrich Fasch (1688-1758)

Presented in partial fulfillment of the requirements for the degree of

Doctor of Musical Arts

X I

LIST OF FIGURES

Figure Page

1. J. F. Fasch's 12 oboe concertos 10

2. Articulation patterns for sets of four sixteenth notes 25

3. Variant eighteenth-century oboe fingerings for f-sharp1 29

x n

LIST OF EXAMPLES

All examples are extracted from the edition of Johann Friedrich Fasch's Oboe Concerto in G Maior (K. 8^ included in Appendices A and B.

Example Page

1. Opening of Movement II 15

2. Opening of Movement IV 16

3. Suggested ornamentation for the end of Movement I 22

4. C-sharp1, Movement IV, measures 49-54 28

x m

CHAPTER I

INTRODUCTION

While Johann Friedrich Fasch (1688-1758) was living,

all of his compositional output was distributed by

handcopied manuscript; none of it was published. Since

Fasch's death, the majority of his vocal music has been

lost, while most of the instrumental works remain extant

but scattered. Of the 61 extant concertos, 18 are solo

concertos for various instruments.1 Gottfried Kiintzel's

1965 dissertation, Die Instrumentalkonzerte von Johann

Friedrich Fasch (1688-1758). catalogs Fasch's concertos and

assigns each a number represented here as a K. number.2

Fasch was among the generation between Baroque and

Classical style periods of Western art music. Chapter II

surveys the life and work of this transitional German

composer.

Gottfried Kiintzel, "Fasch, Johann Friedrich," The New Grove Dictionary of Music and Musicians. 20 vols., ed. Stanley Sadie (London: Macmillan, 1980), VI, 413-14.

2Gottfried Kiintzel, Die Instrumentalkonzerte von Johann Friedrich Fasch (1688-1758) (Ph.D. dissertation, Johann Wolfgang Goethe-Universitat Frankfurt am Main, 1965) , G. Kiintzel, Bonn.

Fasch worked during the 30-year period, 1710-174 0,

referred to as the "Golden Generation"3 of oboe literature

in which the quantity and variety of solo oboe repertoire

peaked. "By far the largest proportion of works for oboe

by J. S. Bach (94%), Couperin (100%), Handel (74%),

Telemann (76%), and Vivaldi (100%) fall in this period."4

These composers are generally associated with mature

Baroque style. The solo oboe repertoire, however,

currently includes few concertos representative of

evolutionary compositions which hint toward the development

of a new historical style period during the early

eighteenth century. Fasch wrote 12 solo oboe concertos,

five of which have been lost. Incipits, instrumentation,

and keys of the lost concertos are known through entries in

either the thematic catalog of General Major FreyHerrn von

Sonsfeldt of 1720 or the 1762 thematic catalog of the

publisher Brietkopf.5 Chapter III investigates Fasch's

solo oboe concertos, focusing on one of the two

unpublished, extant concertos—the Oboe Concerto in G Maior

(K. 8).

3Bruce Haynes, "The Oboe Solo Before 1800: A Survey," The Journal of the International Double Reed Society XVII (July 1989), 7-14.

4Ibid., 9.

5Kiintzel, Instrumentalkonzerte von Fasch. 195-209

This writer's primary purpose is to introduce to the

oboe repertoire a "combined-purpose edition"6 of a concerto

by Fasch, one representative of the transition from Baroque

to Classical eras. Related editorial problems and

performance practice are discussed in Chapter IV.

6Howard Mayer Brown, "Editing," The New Grove Dictionary of Music and Musicians. 20 vols., ed. Stanley Sadie (London: Macmillan, 1980), V, 842.

CHAPTER II

THE LIFE AND WORK OF J. F. FASCH

Fasch's Life

Johann Friedrich Fasch was most likely born April 15,

1688 in Buttelstadt, near Weimar, Germany. As a child,

he sang in choirs at Suhl and Weissenfels. At age 13 he

was accepted as Johann Kuhnau's first student at the

Thomasschule in Leipzig where he befriended the young Georg

Philipp Telemann.1 It was in Leipzig that Fasch began

practicing clavier and composition and also where accounts

of a "purposeful prank" originate.2 Having composed an

overture with which he was pleased, Fasch signed Telemann's

name to the score and presented it to the latter's

Collegium Musicum. To the composer's joy, the ensemble

read through the overture and accepted it as Telemann's

own.3

Gottfried Kiintzel, "Fasch, Johann Friedrich," The New Grove Dictionary of Music and Musicians, 20 vols., ed. Stanley Sadie (London: Macmillan, 1980), VI, 413-14.

2Davi.d A. Sheldon, "Johann Friedrich Fasch: Problems in Style Classification," The Musical Quarterly LVIII/1 (January, 1972), 93.

3David A. Sheldon, The Chamber Music of Johann Friedrich Fasch (Ph.D. dissertation, Indiana University, 1968; Ann Arbor, Mich.: University Microfilms), 18.

Fasch went on to form his own Collegium Musicum while

a student at the University of Leipzig. In this

stimulating environment, he supplied much of his own music

for the group and became familiar with the work of his

contemporaries. Even without extended traditional study in

composition, Fasch became successful as a composer,

receiving commissions in 1711 and 1712 for operas performed

at the Peter-Paul Festivals at Naumberg.4 Seeking more

thorough training as a composer, he traveled to Darmstadt

where, for 14 weeks, he studied with Christoph Graupner and

Gottfried Griinewald, being "instructed by both in

composition most faithfully without being charged the

slightest amount."5

In the beginning of his professional career, Fasch

held several brief positions: violinist in Bayreuth,

organist in Greiz, and six months in the employ of one

Count Morzin.6 This latter position has generated a long

line of errors regarding Fasch's biography resulting from a

failure to distinguish between two members of the Morzin

family. For approximately the last two centuries, accounts

of Fasch's life have indicated that he was Franz Joseph

4Gottfried Kiintzel, "Fasch, Johann Friedrich," The New Grove Dictionary of Music and Musicians. 20 vols., ed. Stanley Sadie (London: Macmillan, 1980), VI, 413.

5Sheldon, Chamber Music of Fasch. 21.

6Ibid. . 22.

Haydn's predecessor as Kapellmeister to Count Morzin of

Vienna, when, in fact, he worked for Count Vaclav Morzin in

Prague.7

In the summer of 1722, Fasch assumed the duties of

Kapellmeister at Zerbst, where he remained until his death

on December 22, 1758.8 By 1722, Fasch had apparently

established a solid reputation that extended beyond Saxony.

After working at Zerbst for approximately eight weeks, he

was one of several musicians invited to apply for the

vacant Thomas-Kantorat in Leipzig, a position eventually

awarded to the candidate from Cothen—Johann Sebastian

Bach.9 While Fasch was at Zerbst, his works were

transcribed and/or performed by Telemann, J. G. Pisendel,

C. P. E. Bach, and J. S. Bach.10 His son, Carl Friedrich

Christian Fasch, also established a musical career serving

(from 1756) as harpsichordist to Frederick the Great.11

7Milan Postolka, "Haydn, Fasch and Count Morzin," trans. John Tyrrell, The Musical Times cxxix/1741 (February, 1988), 78.

8Sheldon, Chamber Music of Fasch. 23.

9Ibid., 23-25.

10Kiintzel, loc. cit.

uIbid.

Fasch/s Work

Late in life and following his death, the elder

Fasch's fame was obscured by the success of his famous son,

who founded the Berlin Sinqakademie.12 In the nineteenth

century, J. F. Fasch was ignored due to the attention given

to J. S. Bach and finally "rediscovered" by Hugo Riemann

around the turn of the century.13

Fasch's historical/stylistic placement is illusive,

perhaps due to the period of style transition in which he

worked and his lack of extended, formal training in

composition. "Fasch's concertos, sonatas, and symphonies

give a many-sided or composite view of his style. Perhaps

the composer's stylistic variability should best be

expressed by referring rather to his styles."14 Kiintzel

points out that Fasch was indeed innovative yet probably

not influential to his contemporaries and successors.15

Fasch's untraditional treatment of melodies and themes is

discussed in Chapter III.

In comparing Fasch's music to his contemporaries,

David Sheldon finds that Fasch is quite unlike his teacher,

12Sheldon, Chamber Music of Fasch. 33.

13Kiintzel, loc. cit.

14Sheldon, The Musical Quarterly LVIII/1, 115.

I5Kuntzel, op. cit. . 414.

8

Graupner, and draws parallels with the styles of C. P. E.

Bach, J. G. Graun, J. D. Heinichen, J. J. Quantz, G. H.

Stolzel, and Telemann.16

In the twentieth century, there have been varying

opinions regarding Fasch's styles and contribution.

Riemann and his disciples regarded Fasch as one of the most

important pioneers between the Baroque and Classical eras,

who "put instrumental music entirely on its own feet."17

Sheldon, on the other hand, finds Fasch to be a moderately

significant late Baroque, central German composer, who

shared many forward-looking stylistic features with his

contemporaries.18

16Sheldon, Chamber Music of Fasch. 210-27.

17Ibid. . 35.

18Ibid. . 226-27.

CHAPTER III

FASCH'S OBOE CONCERTOS

Fasch's instrumental style was influenced generally

by the Italian baroque concerto1 and specifically by

Venetian composers Antonio Vivaldi2 and Giuseppe Tartini.3

Arthur Hutchings lists seven features of Venetian

concertos, some of which can be observed in Fasch's oboe

concertos:

1) the establishment of three movements, 2) brilliant or impassioned solo parts, 3) the romantic turn of Vivaldi's expression, 4) perspicuity of style, including easily memorable themes, 5) ritornello organization, 6) pathetic slow movements, and 7) use of wind instruments.

Two other traits characteristic of Vivaldi's early style

are clearly revealed in the second and fourth movements of

lDavid A. Sheldon, "Johann Friedrich Fasch: Problems in Style Classification," The Musical Quarterly LVIII/1 (January, 1972), 105.

2Gottfried Kiintzel, "Fasch, Johann Friedrich," The New Grove Dictionary of Music and Musicians. 20 vols., ed. Stanley Sadie (London: Macmillan, 1980), VI, 413.

3Sheldon, The Musical Quarterly LVIII/1, 115. Tartini was a teacher of J. G. Graun and worked at Prague 1723-26.

4Arthur Hutchings, The Baroque Concerto (New York: W. W. Norton & Co., Inc., 1961), 141-155.

10

the present edition, those being "additive construction, as

opposed to the spinning out of a single subject, and

interpenetration of solo and tutti material."5

Among Fasch's 18 extant solo concertos are seven for

oboe. In addition, Kiintzel lists five other solo oboe

concertos which have been lost. Figure 1 shows the

K. number, tonality, and number of movements for each of

Fasch's 12 oboe concertos.

Figure 1. Fasch's 12 oboe concertos (* indicates lost work)

K. # Key No. of Movements

2 G major 4

3 C major 4

7 D minor 3

8 G major 4

10 A minor 4

12 G minor 3

17 D minor 3

61* D minor

62* G major

63* A minor

65* G minor

66* G major

Four of the concertos were composed in the key of G

major, three in D minor, two each in G minor and A minor,

5Claude V. Palisca, Baroque Music. 2nd ed., (Englewood Cliffs: Prentice-Hall, Inc., 1981), 166.

11

and one in C major. Regarding choice of tonality, both the

concertos and symphonies of Fasch "display a preference for

G major."6 Also, "there is abundant proof that the oboe

was regarded in the eighteenth century as an instrument

whose home key was C, from which it ventured usually no

further than three flats or sharps, with a tendency towards

the medium flat keys."7 This explains the preferences for

D minor and G minor among these concertos.

In discussing Fasch's concertos, Kuntzel writes in

The New Grove Dictionary of Music and Musicians that "they

are all of the three-movement type created by

Vivaldi . . .1,8 It is clear, however, that four of the

oboe concertos (as well as a chalumeau concerto) have a

four-movement structure similar to the earlier sonata da

chiesa—a point that Kuntzel himself discusses in his

earlier dissertation. The Chalumeau Concerto in B-flat

Major (K. 16) may display an older movement structure, but

all other features of this work are consistent with the

transitional period in which it was composed.9 The same

can be said for the Oboe Concerto in G Major fK. 8). Two

6Sheldon, The Musical Quarterly LVIII/l, 113.

7Bruce Haynes, "Tonality and the Baroque Oboe," Early Music VII/3 (July 1979), 356.

8Klintzel, The New Grove. VI, 413.

9Kiintzel, Instrumentalkonzerte von Fasch. 31-3 3.

12

of the other four-movement oboe concertos (K. 2, K. 3) do

not include viola parts, which creates more of a Baroque

trio-sonata-like texture. These two works, like trio

sonatas, have no ritornellos; the omission of the viola

part diminishes the ripieno group which would regularly

play ritornellos.10

Concerto No. 8 seems to exist in a nebulous area,

appearing alternately as ensemble sonata, solo concerto,

concerto grosso, and sinfonia. Movement structure and

affect are somewhat reminiscent of two oboe concertos from

the standard Baroque repertoire by Handel: the Concerto in

G Minor and the Concerto Grosso in B-flat Major. In

performing the Fasch concerto, one realizes that the oboe

rarely rests due to the colla parte texture of tutti

passages. In the second and fourth movements, the oboe

uncharacteristically introduces the primary ritornello

theme, blurring the distinction between solo and tutti

expected in a typical solo concerto.

David Boyden offers some insight in his article "When

Is a Concerto Not a Concerto?":

The dual meaning of the term in Italian and Latin, and the corresponding notions of "join together," on the one hand, and "contention, rivalry, or contrast," on the other, do serve the important function of explaining how a number of works of quite different character from about 1600-1750 could all be described

10 Ibid.

13

with perfect propriety by the single term concerto. In short, during the 17th century and the first part of the 18th, the word concerto is to be understood, not as a fixed form with solo parts, but rather as one of two manners of setting, involving either the concept of "joining together" or "ensemble" of musical forces, or the idea of "striving, contrast, and opposition."11

The old "ensemble" meaning of concerto explains why, in a number of cases, the sinfonia (i.e., "sounding together") resembles the concerto, and is even equated with it at times. It also helps explain why a sonata played by the orchestra is sometimes called a concerto. thus becoming, as it were, a "sonata in concerto"; and why the terms sinfonia. sonata, and concerto are sometimes closely identified, as well as often distinguished!12

According to Riemann, Fasch was most significant in

melodic structure and treatment of themes.13 Melodies of

the Baroque emphasized a single affect and were governed by

a persistent spinning out of one primary motive. Melodies

of the Classic period, on the other hand, were periodic,

that is, shorter, more segmented, often with juxtaposed

contrasting motives, as illustrated in the opening of

Movements II and IV in the present edition. It was in this

new style of treating melodies and themes that Fasch

excelled.

uDavid D. Boyden, "When Is a Concerto Not a Concerto?" The Musical Quarterly 43/2 (April 1957), 229.

12Ibid. . 230.

I3David A. Sheldon, The Chamber Music of Johann Friedrich Fasch (Ph.D. dissertation, Indiana University, 1968; Ann Arbor, Mich.: University Microfilms), 34.

14

Example 1 shows two contrasting melodic segments

followed by a pause at the opening of Movement II.

The first segment, measure 1 through the first note of

measure 4, displays different rhythmic activity and

instrumentation from the second segment, the remainder of

measure 4 through 8. The pause in measure 8 is

uncharacteristic of mature Baroque style. "The grouping of

phrases and contrast elements into rather concise segments

was achieved by Fasch and others with the aid of repeat

patterns and sequences."14

Example 2 shows a similar passage from the fourth

movement. Here the first segment extends from the

beginning to the first note of measure 7 and is followed by

a second segment, the remainder of measure 7 to the first

note of measure 13.

The question of dating Fasch's work has been

addressed by Kiintzel and Sheldon; both claim insurmountable

difficulties in this task. The few extant, dated works are

vocal compositions from Fasch's first work at Zerbst, which

were dedicated to his patron in 1722/23.15 Many of Fasch's

instrumental works, including three of the lost oboe

I4Ibid. . 222.

15Ibid. , 37.

15

Example 1. Opening of Movement II

Allegro n

Oboe

Violino I

Violtno II

Viola

Basso

Cembalo

rf-HH olo

m Oboe

Violino I

Violtno II

Viola

Basso

Cembalo

1

T«fcfc»=

- - - f ts P f [„ £aT -U J" Q ™

J 1

J" [ J T Oboe

Violino I

Violtno II

Viola

Basso

Cembalo

1

1

* * —

1

* —»—• p

— • •-»

p

p

J J J 1'

1'

— w

Oboe

Violino I

Violtno II

Viola

Basso

Cembalo

'*1*11 z: —

Oboe

Violino I

Violtno II

Viola

Basso

Cembalo

1

r , m i . n n

Oboe

Violino I

Violtno II

Viola

Basso

Cembalo

L L L J ' * 4 j A * — w

1 p

%> 7

£

P

II?!11 c. r r j

p

f f r

i £ i g

16

Example 2. Opening of Movement IV.

IV Allegro

solo IM.

' » • 1 f

1 L - L U j r J 1

1 1 ; i

1

L h ; I ft "

1

p i t ; | - 4

1

i

-*T«~S .1 *

7

7 p

f t . p a - J —F--4 1

P

—T"-l 1—

I*

|«

/

p - e - a ( f a t i = j =

7 f

J J J J 7 7 J J P

J j J /

7

7 L J " -[ / ]

7

I - ' 4 r 7 1

H t h

' r r

/

17

concertos (K. 61, 62, 63),16 are listed in the thematic

catalog of General Major FreyHerrn von Sonsfeldt which was

compiled beginning c. 1720 and includes entries added

through 1760.17 Performer/scholar Bruce Haynes observes

that Fasch studied at Darmstadt in 1713, two years after

the arrival of oboist J. M. Bohn, which may explain Fasch's

many works for oboe.18 The concertos K. 7 and K. 8 were

copied at Darmstadt by Johann Samuel Endler, who died in

1762 .19 Stylistically, Kiintzel believes that these two

works are relatively early.20

1 6 T 5Bruce Haynes, Music for Oboe 1650-1800: A Bibliography. 2nd ed. revised and expanded (Berkeley: Fallen Leaf Press, 1992), 119.

17Ibid. . 407.

18Ibid. . 117.

19, Sheldon, The Musical Quarterly LVIII/1, 97, footnote #25.

20Kiintzel, Instrumentalkonzerte von Fasch. 39-40.

CHAPTER IV

Editorial Problems and Performance Practice

Editorial Problems

The present edition is based on the only

known set of parts housed at the Hessische Landes-und

Hochschulbibliothek in Darmstadt, Germany, where it is

catalogued as number 290/7. The title page reads:

Concerto/a Oboe Concert:/2 Violini/Viola/et Cembalo/di

Fasch.

Eighteenth-century solo pieces intended for virtuoso

performers were not often published and were held in

private collections. "Manuscript music was probably

generally intended for professional players, whereas

printed music was for amateurs."1

Editorial emendations have been differentiated from

original notation to provide a "combined-purpose edition,

offering enough essential source information for scholars

with enough practical advice about interpretation for

'Bruce Haynes, Music for Oboe 1650-1800: A Bibliography, 2nd ed. revised and expanded (Berkeley Fallen Leaf Press, 1992), xvi, footnote 9.

18

19

performers.1,2 From the full orchestral score, a reduction

has been prepared for performance by oboe and piano,

thereby providing access to a greater number of performers

and audiences. This approach is frequently used with

concertos for all instruments in a wide variety of

contemporary recitals and competitions.

Brackets enclose emendations of pitch; dynamics;

trills; sharp, flat, or natural signs; and tutti, solo, or

tacet indications. Editorial slurs are marked with a

vertical slash through the slur sign. Suggested ornaments

in the solo part appear on a separate staff in Movement I

and as small bracketed notes in Movement III. Notes added

to the orchestral reduction are identified by their smaller

size.

A frequently encountered editorial problem involves

the treatment of sharp and flat signs in the manuscript

parts. With the exception of only one natural sign,3 flat

signs are used to cancel previous sharp signs. In

addition, these accidental signs are often duplicated

within a measure. In the present edition, twentieth-

century notation practice is used. Natural signs are used

to cancel previous sharp signs; accidental signs apply to

2Howard Mayer Brown, "Editing," The New Grove Dictionary of Music and Musicians. 20 vols., ed. Stanley Sadie (London: Macmillan, 1980), V, 842.

Movement IV, measure 54, Violin I, G-natural.

20

one measure only; accidental signs are not duplicated

within a measure.

Performance Practice

Ornamentat ion

In the early eighteenth century, Roger North stated:

It is the hardest task that Can be to pen the Manner of artificial Gracing an upper part; It hath bin attempted, and in print, but with Woeful1 Effect . . . the Spirit of that art is Incommunicable by wrighting, therefore it is almost Inexcusable to attempt it.4

Despite North's admonishment, a cautious attempt has

been made to notate a few suggested ornaments. The

contemporary scholar Robert Donington gives the following

guidelines regarding instrumental ornamentation:

In later baroque instrumental music, either the editor or the performer or both will have to take action (i) in slow movements notated only with a structural outline of the melody, which it is obligatory to complete in performances with ornamental figuration, although the nature of this figuration is at the performer's option; (ii) in a variety of other situations where some such ornamentation is less obligatory, but nevertheless up to a point desirable, (iii) in situations more or less markedly calling for a cadenza, especially if a fermata appears.5

4Robert Donington, The Interpretation of Early Music, new revised ed. (New York: W. W. Norton & Co., 1992), 155.

5Robert Donington, A Performer's Guide to Baroque Music (New York: Charles Scribner's Sons, 1973), 166-67.

21

One of the forward-looking elements of Fasch's music

is his use of the galant style6 which can be enhanced

through ornamentation. Galant style represents a move away

from the strict complicated polyphonic texture of the

Baroque toward the elegant, graceful, pleasing melodies,

harmonies, and cadences used by a new generation of

composers. In association with the new keyboard music,

William S. Newman mentions "the incessant short

trills, . . . appoggiatura vsighs,' . . . as well as new

refinements of both articulation and dynamics."7 Claude

Palisca writes of "this new galant style with its frequent

cadences, trills, and triplets."8 All of these ornaments

are suggested in the present edition: frequent trills in

the last movement, triplets and appoggiaturas in the first

movement, refined articulation and dynamics in the allegro

movements.

In 1737, Johann Adolf Scheibe wrote:

To a good method belong the appoggiaturas, the grace-notes, the trills, the alteration or elaboration of the notes, certain small, agreeable additions and

6David A. Sheldon, "Johann Friedrich Fasch: Problems in Style Classification," The Musical Quarterly LVIII/l (January, 1972), 50ff.

7William S. Newman, The Sonata in the Classic Era. 3rd ed. (New York: W. W. Norton & Co., 1983), 121.

8Claude V. Palisca, Baroque Music. 2nd ed., (Englewood Cliffs: Prentice-Hall, Inc., 1981), 167.

22

variations, and many other things which are better listened to than described.9

Example 3 shows suggested ornamentation for the

fermata at the end of the first movement.

Example 3. Suggested ornamentation for the end of Movement I.

F to-

m Oboe

£ w

m t

<t pJT*'p £ r\

m 37 P

r\

m

A cadenza is a surprising discretionary embellishment appropriate to the main passion of the piece or movement, on a note before the final trill with a fermata sign; or it is an artificial, decorative, surprising lead-in appropriate to the main sentiment,

'Donington, Interpretation of Earlv Music, 155.

23

from the note with the fermata sign to the cadential trill.10

In his eighteenth-century flute treatise, J. G. Tromlitz

writes:

The wind player and the singer cannot do as they wish, but are limited by the length of their breath, because no cadenza should be longer than the breath lasts. The reed-instrument player can hold his breath longer than the flute-player, because with the latter more wind is required, and also more is wasted.11

Considering the brevity of the movement and the

half-cadence at the double bar, this ornament may be better

referred to as a "cadential flourish"12 than a mature

cadenza.

Articulation

Understanding the practice of articulation in the

eighteenth century can be problematic because decisions of

articulation were often left to the performer, not notated.

The manuscript parts on which the present edition is based

do include limited ties and slurs.

1 The Virtuoso Flute-Plaver bv Johann George Tromlitz, trans, and ed. Ardal Powell (Cambridge: Cambridge University Press, 1991), 261.

nIbid.. 260.

12David Lasocki and Betty Bang Mather, The Classical Woodwind Cadenza: A Workbook (New York: McGinnis & Marx, 1978), 1.

24

"Much eighteenth-century ensemble music contains few

slurs at all, and those that are present fall most often in

pairs, or more rarely, on three or four notes."13 However,

"the individuality inherent in solo performances allowed a

greater variety of articulation, including combinations of

slurred and separate notes."14

The second movement of the present edition includes

several passages in which sixteenth notes are grouped in

sets of four and invite combinations of slurred and

separate notes. Of the five possibilities, Figure 2

illustrates four which were common during the early

eighteenth century and a fifth combination which was not in

favor during this period.

Dynamics

"It is a complete misunderstanding to confine

baroque music within a range of what has recently been

called terrace dynamics: long stretches of loud or soft

flatly sustained."15 "Subtle dynamic shadings were very

much a feature of baroque performance in addition to echoes

and other forte and piano contrasts."16 The manuscript

13Mary Cyr, Performing Baroque Music (Portland, Amadeus Press, 1992), 97.

14Ibid. . 94.

15Donington, Interpretation of Early Music. 482.

16 'Cyr, op. cit. . 49.

25

parts on which the present edition is based do contain

piano and forte dynamic markings in the allegro movements.

Solo and tutti indications also appear, which help

performers determine appropriate volume. Additional forte

and piano markings as well as solo and tutti indications

have been suggested. Graded dynamics are left to the

informed discretion of the performers.

Figure 2. Articulation patterns for sets of four sixteenth notes,

a) Preferred combinations b) Not preferred

? y X — y L m m m ~m M M

a) Preferred combinations

1 # m

b) Not preferred 17

General guidelines for dynamics on the local level

can be found in the flute treatise by J. J. Quantz. In

17Stanley King, Old Music on Modern Instruments: Tips for More Stylish Performances (Lecture presented to the Twenty-second Annual Conference of the International Double Reed Society, University of Minnesota, 1993) .

26

paired slurs, the first note is stronger than the second;18

a dissonance is stronger than the consonance to which it

resolves.19

Period Oboes

The instrument with which one performs can affect

editorial decisions and performance practice. The oboe in

use during the eighteenth-century period had only two or

three keys and a number of open tone holes covered directly

by the player's fingers. This instrument was fully

chromatic (with the exception of low c-sharp1) , from

middle c upwards approximately two and one-third octaves.

Early in the nineteenth century, a transitional

period for the instrument, the oboe began to acquire

additional key work and to distinguish between French and

Viennese types. Following the work of several nineteenth-

century makers and players, the French type gradually

gained prominence throughout the world (except in Vienna),

arriving at its current state (with minor revisions) in

1880.20

18Johann Joachim Quantz, On Playing the Flute. 2nd ed., trans. Edward R. Reilly (New York: Schirmer Books, 1985), 172-78.

19Ibid. . 255-59.

20Michael Seyfrit, "Oboe," The New Harvard Dictionary of Music, ed. Don Michael Randal (Cambridge: Harvard University Press, 1986), 553-54.

27

Through practical performing experience, I have

found that the eighteenth-century oboe and the twentieth-

century oboe each has its own distinct advantages and

disadvantages.

The eighteenth-century oboe, not having a separate

hole for each chromatic tone, requires forked fingerings.

These cross- (or forked-) fingered notes always have a matted, veiled tone quality, noticeably different from the open-fingered ones. Apparently, this tonal chiaroscuro was prized in the 18th century; it can be compared to the different qualities the human voice produces when singing different vowels.21

These various shadings of timbre enhance the affect of

different tonalities.

Fingerings can create obstacles as well. The work

in question requires low c-sharp1 as well as an abundance of

F-sharps. Example 4 shows measure 51 of the last movement,

which begins with a low c-sharp1, the note supposedly absent

in the scale of the period oboe. Considering that it is

preceded by d1, succeeded by b1, and doubled with violin I,

a performer might approximate low c-sharp1 by fingering d1

while adjusting embouchure placement and pressure to

produce c-sharp1.

21Bruce Haynes, "Tonality and the Baroque Oboe," Early Music VII/3 (July 1979), 355.

Example 4. C-sharp1, Movement IV, measures 49-54.

28

Oboe

ISL EL \ t r ] f«*>]

?jlJ ' I J-

• I

j-f-P 1

/>

f "F

| g ^ 1 1

i l Cembalo

F-sharps abound in Fasch's G major concerto,

presenting the oboist with several choices of fingering

illustrated in Figure 3.

Response of lower tones, articulation, and breath

control are achieved with greater ease on the eighteenth-

century oboe due to its broader reed, wider bore, and

minimal resistance. This oboe also blends quite readily

with a string ensemble. "While oboists also did

considerable solo playing, most of it was in the context of

29

the orchestra, where the instrument was originally intended

to support the violins, a role which it never outgrew."22

Figure 3. Variant eighteenth-century oboe fingerings for f-sharp1.23

• • • • • • • • • •

• • • * • • • • • • • o • o • • • • • o o 0 0 . O o • 0 o 0O EJ'O

• • O 0

k o E1

The twentieth-century oboe, with its sophisticated

key mechanism, allows for the production of c-sharp1, uses

only one F-sharp fingering, and includes the welcome

addition of octave vents. Pitches from e2 and above are

aided in their production by two different vent holes which

help stabilize and clarify the upper pitches. Tonal focus

allows for greater projection over an ensemble, an

advantage in solo playing for the oboe of our current

period.

22Haynes, Early Music VII/3, 355.

23Julia C. Combs, Six Oboe Sonatas bv Giuseppe Sammartini fSiblev Manuscript S. 189) with Critical Commentary and a Performing Edition of Sonata Five: A Lecture Recital Together with Three Other Recitals (D.M.A dissertation, North Texas State University, 1985), 20.

CHAPTER V

SUMMARY AND CONCLUSIONS

Johann Friedrich Fasch was a composer of apparent

good repute during a vital generation of transition. His

stylistic variability displayed selective standard

conventions of late Baroque form yet applied a progressive

approach to melodies and themes with elements of the new

galant style. Perhaps if less isolated in Zerbst or more

widely known through publication, his innovations may have

been more influential at the time.

Chapters II and III clarify previous misstatements

regarding Fasch's life and work. He was not Haydn's

predecessor with Count Morzin in Vienna, but was in the

employ of Count Vaclav Morzin in Prague. All of Fasch's

solo concertos are not of the three-movement Vivaldi type;

four of the oboe concertos and a chalumeau concerto display

a four-movement structure.

One-third of Fasch's solo oboe concertos were

composed in G Major, which is somewhat at variance with

Haynes' observation that the home key of the eighteenth-

century oboe was C Major, tending toward one to three flats

when it departed from C.

Fasch's output included a high percentage of

challenging, well-crafted solo oboe concertos which reveal

30

31

elements of old and new. Few transitional concertos are

included in the solo oboe repertoire. Performing oboists

and their audiences may now take advantage of an addition

to the repertoire which represents this interesting age of

the early eighteenth century.

APPENDIX A

32

33

Critical Notes

Brackets enclose emendations of pitch; dynamics;

trills; sharp, flat, or natural signs; and tutti or solo

indications. Editorial slurs are marked with a vertical

slash through the slur sign. Suggested ornaments in the

solo part appear on a separate staff in Movement I and as

small bracketed notes in Movement III.

Pitch and rhythm emendations:

Mvt. Measure Beat Part Manuscript Edition

28 Oboe both f-sharp2

and g2

II

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72

87

113

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APPENDIX B

63

64

Critical Notes

Brackets enclose emendations of pitch; dynamics;

trills; sharp, flat, or natural signs; and tutti, solo, or

tacet indications. Editorial slurs are marked with a

vertical slash through the slur sign. Suggested ornaments

in the solo part appear on a separate staff in Movement I

and as small bracketed notes in Movement III. Notes added

to the orchestral reduction are identified by their smaller

size. Refer to Appendix A for specific emendations of

pitch and rhythm.

65

Oboe Concerto in G Major (K. 8) J. F. Fasch (1688-1758)

ed. D. Manning Largo

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