city research ferling and his work as a performer and composer, and a detailed description of all...

Download City Research   Ferling and his work as a performer and composer, and a detailed description of all of his known compositions

Post on 24-Mar-2018

224 views

Category:

Documents

7 download

Embed Size (px)

TRANSCRIPT

  • City, University of London Institutional Repository

    Citation: Hassiotis, K. (2010). A critical edition of the 48 studies for oboe, op. 31 by Franz Wilhelm Ferling (1796-1874), based on original historical evidence and viewed within the context of the evolution of didactic material for oboe, with particular reference to nineteenth-century performing practices.. (Unpublished Doctoral thesis, City University London)

    This is the accepted version of the paper.

    This version of the publication may differ from the final published version.

    Permanent repository link: http://openaccess.city.ac.uk/8725/

    Link to published version:

    Copyright and reuse: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to.

    City Research Online: http://openaccess.city.ac.uk/ publications@city.ac.uk

    City Research Online

    http://openaccess.city.ac.uk/mailto:publications@city.ac.uk

  • A CRITICAL EDITION OF THE 48 STUDIES FOR OBOE, Ope 31

    BY FRANZ WILHELM FERLING (1796-1874), Based on Original Historical Evidence

    and Viewed Within the Context of the Evolution of Didactic Material for Oboe,

    with Particular Reference to Nineteenth-Century Performing Practices

    KOSTIS HASSIOTIS

    Presented in Partial Fulftlment of the Requirements

    for the Degree of Doctor of Musical Arts (DMA)

    VOLUME ONE

    City University London Department of Music

    London, July 2010

  • Please make the redactions listed below. With figures please retain the figure number and the

    reference to the source.

    Page Redactions to be made number VOLl p.4 Text - quotation p.S Figure 1.1

    p.10 Figure 1.2

    p.14 Text _1 st quotation

    p.1S Figure 1.3

    p.21 Text - quotation p.22 Figure 1.4

    p.2S Figure 1.5

    p.2S Figure 1.6

    p.31 Figure 1.7

    p.32 Figure 1.8

    p.33 Figure 1.9

    p.3S Figure 1.10

    p.37 Figure 1.11 p.42 Text - 2nd and 3rd quotations

    p.4S Text - quotations p.47 Text - both quotations p.93 Figure 2.1

    p.9S Figure 2.2 p.97 Figure 2.3

    p.106 Figure 2.4

    p.109 Figure 2.5

    p.123 Figure 3.1

    p.124 Figure 3.2

  • To Yannis

  • TABLE OF CONTENTS

    VOLUME 1

    Table of Contents

    List of Tables

    List of Figures

    Acknowledgements

    Abstract

    List of Abbreviations

    Libraries and Archives Consulted

    INTRODUCTION

    Biographical Information. Ferling's Instrument

    A Brief Consideration of Brunswick's History and Musical Life

    Ferling in the Sources of the Period

    Ferling's Compositions

    The Importance of the 48 Studies

    CHAPTER 1

    The Nineteenth-Century Oboe Study in Context

    A Historical Outline

    The Development of the S tucfy in the Nineteenth Century

    Differences and Simtiarities between Studies for Different Instruments

    Collective Forms of Instructional Compositions: Tutors, Methods and Treatises

    A Short History of Afethods and Studies for Oboe

    Evaluation ofFerling's Op. 31 as a Didactic and Concert Composition

    Conclusion

    Tables 1.1-1.2: Nineteenth-Century Oboe Instructional Material' Editorial Procedure

    CHAPTER 2

    F. W. Ferling's 48 Studies for Oboe Op. 31: A Detailed Editorial History,

    Page

    1lZ

    v

    VI

    VIti

    IX

    X

    xm

    1

    3

    9

    16

    19

    40

    48

    48

    59

    64

    68

    75

    83

    87

    89

    with a Comparison of the Most Important Editions and Reissues 91

    In Search of the First Edition ofOp. 31: The History of the Comsponding Publishing Houses 91

    ill

  • Subsequent Editions ofOp. 31

    S temmatic Filiation Diagram

    Comparison of the Most Important Contemporary Editions

    A Short Critique of the Existing Editions: Conclusion

    CIIAPTER3

    A Critical Edition of F. W. Ferling's 48 Studies for Oboe

    The Sources

    Aims of the Edition and Treatment of the Sources

    Some Individual Problematic Cases

    CHAPTER 4

    Performance Practice Issues and Suggestions on Interpretation

    Articulation and S furring

    Trills, Turns and other Ornaments

    Dynamics

    Tempo Terms and Metronome Markings

    Other Tempo Parameters. futbato. Vibrato

    Conclusion

    Epilogue

    VOLUME 2

    Table of Contents

    Ust of Tables

    Appendix 1: Tables and Critical Report

    Appendix 2: Critical Edition

    Appendix 3: The 1837 J. P. Spehr Edition

    References and Bibliography

    tv

    104

    114

    116

    119

    122

    122

    125

    131

    135

    136

    141

    145

    147

    153

    159

    162

    Page (Vol. II)

    tt

    iv

    1

    77

    140

    166

  • LIST OF TABLES Page (Vol. II)

    INTRODUCTION

    Table 1.1: Publishing dates for Ferling's work.; 2

    Table 1.2: Present locations of copies of existing Ferling's works (nineteenth-century editions) 3

    CHAPTER 1

    Table 1.1: Nineteenth-century oboe instructional material

    Table 1.2: Sourcesfor Table 1.1

    CHAPTER 2

    Table 2.1: A list of existing editions by Johann Peter Spehr Table 2.2: Differences between Bachmann edition copies

    Table 2.3: Differences between Richault [1845] and Costa!!at [1905] editions

    Table 2.4: Abbreviations used for purposes of comparison Table 2.5: Differences between Bi!!audot (1970) and Costa!!at (1926) editions

    Table 2.6: Differences between Costa!!at (1926) and Andraud (1942) editions

    Table 2.7: Difftrences between Universal (1983) and Bachmann [19?] editions

    CHAPTER 3

    Table 3.1: Differences between Sp and the Klemske manuscrip" Study no. 1

    Critical Report

    CHAPTER 4

    Table 4.1: Ferling's Op. 31 tempo terms and Bleuzet's 1926 metronomic markings

    Table 4.2: Bamt's metronomic indications and tempo terms (from his 1850 Method)

    v

    4

    14

    20

    22

    22

    22

    23

    24

    36

    47

    48

    74

    75

  • LIST OF FIGURES Page

    INTRODUCTION

    Fig. I.l: Part of the last page ofFer/ing's application for pension with his signature 5

    Fig. I.2: Instruments possiblY used by Fer/ing 10

    Fig. I.3: Cover page of the Concertino Op. 5, Spehr edition 18

    Fig. 1.4: The announcement of the performance ofFer/ing's 'Concerto' 22

    Fig. I.5: Cover page of the first edition of the Divertimento Op. 6, Spehr edition 25

    Fig. I.6: Coverpage of the 18 Studies Op. 12, Spehredition 28

    Fig. 1. 7: Detail of the cover page of the Trois Duos Concertans, Uto!fJ revised edition, 1881 31

    Fig. I. 8: First page of the first solo-oboe part of the Concertino Op. 14, Fer/ing's autograph 32

    Fig. I.9: Coverpage of the Concertino Op. 14, G. M. Meyer Jr. edition 33

    Fig. I.1 0: First page of the manuscript of the score of the Rondo-militair 35

    Fig. I.11: Advertisement for the first (known) performance of Vas Jubiltium' 37

    CHAPTER 2

    Fig. 2.1: Coverpage of the 1837 Spehredition (British Library copy)

    Fig. 2.2: The announcement of the publication of the 48 Studies in the 1837 September-October

    issue of the Monatsbericht

    Fig. 2.3: Handwritten information on the Bachmann copy, probablY by Lauschmann

    Fig. 2.4: Cover page of the [1845J Richault edition

    Fig. 2.5: Comparison of the cover pages of the Bachmann and Hampe Editions

    Fig 2.6: S temmatic filiation diagram for the 48 Studies

    CHAPTER 3

    Fig. 3.1: First page of the Klemske 1850 manuscript

    Fig. 3.2: First page, Study no. l]rom the Bauer manuscript

    CHAPTER 4

    93

    95

    97

    106

    109

    115

    123

    124

    Fig. 4.1: Turns according to C. P. E. Bach 144

    Fig. 4.2: Performance suggestion by 'nuancing' on abrupt dynamic changes according to Barret 145

    Fig. 4.3: First bars of the oboe solo part of the Op. 5 Concertino, Spehr edition 156

    Fig. 4.4: Study no. I, bb. 25-28 156

    Fig. 4.5: Study no. 17, bb. 6-7 156

    vi

  • Fig. 4.6: Vibrato according to Nicholson 159

    vii

  • ACKNOWLEDGEMENTS

    It would have been impossible to complete this thesis without the aid of several

    people, to whom I am obliged for their kind and continuous assistance. First of all, to my

    supervisors, Prof. Simon Keefe and Dr. Chris Wiley of City University London, as well as

    to all the academic staff in the Music Department who assisted me with my work in many

    ways; to my instrumental supervisors Dr. Helena Gaunt, Neil Black and Joseph Sanders of

    the Guildhall School of Music and Drama; to my examiners, Professors Rhian Samuel and

    Paul Goodey; to my close friend and wonderful player and pedagogue, Prof. Christian

    Schneider, who not only helped me in contacting several people and institutions in

    Germany, but also provided me with various information and sources including the 1926

    Costallat copy, the Bauer 1877 manuscript and the 1930 edition of the second volume of

    the 144 Prci/udien und EHMen. I would also like to thank several distinguished musicians and

    academics for their assistance: Mr. James Brown for providing me with a copy of his

    unpublished article on Friedrich Eugen Thurner as well as directing me to several articles