Idea Transcript
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A N EXAMINATION OF PUBLISHED ORCHESTRAL EXCERPT STUDY MATERIALS FOR BASSOON A N D CONTRABASSOON
DO CU M EN T
Presented in Partial Fulfillment of the R eq u irem en ts for the D egree D octor of Musical A rts in the G raduate School of the O hio State U niversity bv David W. O yen, M.M.
The Ohio S tate U niversity 1998
D issertation C om m ittee: A pproved By Professor C hristopher W eait, A dviser Professor K atherine Borst Jones Professor Robert S orton
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UMI Number: 9900788
UMI Microform 9900788 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 David Oyen 1998
11
A BSTRACT
Orchestral passages form a large p a rt of the bassoonist's practice m aterial, yet there has been relatively little w ritten about them . This study exam ines the sources available to the bassoonist: excerpt collections, collections of etudes over orchestral passages, instructional literature, recordings and scholarly research o n aspects of the im p o rtan t passages. These m aterials are review ed for content, accuracy, pedagogical value and biographical inform ation on the a u th o rs and editors/com pilers. This paper can serve as a reference for bassoon players an d teachers w ho w ish to find sources for orchestral excerpt stu d y and instruction. This project is limited to published materials, in and out of print.
Ill
ACKNOWLEDGEMENTS
I w ould like to thank m y d issertatio n com m ittee for their su p p o rt d u rin g m y course of study at Ohio State. Professors Katherine Borst Jones an d R obert Sorton have long been sources of in sp iratio n for me, and have served as excellent role m odels. I am especially in d eb ted to m y adviser an d bassoon teacher Professor C hristopher W eait w hose friendship, bassoon instruction, professional advice and unconditional s u p p o rt have been w onderful. In addition, I w ould like to thank Dr. M argarita M azo, w ho served on my M.M. com m ittee an d m y D M A general exam co m m ittee for her encouragem ent. 1 w o u ld like to thank Rachel D usenbury for h e r help w ith editing in A ppendix A. My strongest w ords of thanks go to m y m other, Julia Oyen, and to my late father, W illiam O yen, for their love and c o n sta n t su p p o rt in all m y pursuits.
IV
VITA
A ugust 22,1966
B om - Boise, Idaho, USA
1988
B.M. U niversity of Nebraska-Lincoln
1992
D iplom a, O rchestral M usic, Staatliche H ochschule für M usik, K arlsruhe, G erm any
1993 -1995
G raduate A dm inistrative Associate, The Ohio State U niversity School of Music
1994 - present
Principal Bassoon, Springfield (OH) Sym phony O rchestra
1995 - present
G raduate Teaching Associate, The Ohio State U niversity School of M usic
1995
M.M. The Ohio State U niversity
1997 - present
Bassoon Instructor, L u th eran Sum m er M usic
FIELDS OF STUDY M ajor Field; Music
V
TABLE OF CONTENTS
A bstract................................................................................................................................ iü A cknow ledgem ents........................................................................................................... iv Vita..........................................................................................................................................V List of figures....................................................................................................................v ii Form at of A bbreviations and Editing Procedures.................................................. viii Chapters: 1.
Introduction...............................................................................................................1
2.
Published Bassoon O rchestral Excerpt Collections......................................... 5
3.
Published Etudes over Bassoon Orchestral Excerpts and A rrangem ents of O rchestral Bassoon Passages.........................................................................45
4.
O ther Published Study M aterials Related to Bassoon Orchestral Excerpts and A uditions........................................................................................................ 58
A ppendices: A.
C orrigenda of Various V ersions of Solos from Rim sky-Korsakov's Scheherazade in C om parison to the Orchestral Score................................77
B.
Alphabetical and Chronological Listings of O rchestral Excerpt Collections.............................................................................................................. 93
C
C orrespondence with Publishing Firm H ofm eister.................................... 99
Bibliography..................................................................................................................... 104
VI
LIST OF FIGURES
Figures
Page
1
Standard Am erican System of O ctave notation
ix
2
B eethoven Sym phony no. 4 Solo as it A ppears in G um pert Collection
14
Beethoven Sym phony no. 4 Solo as it A ppears in Gesamtaiis^abe Score
15
M cGill's N ote G roups in the B eethoven Sym phony no. 4 Solo
68
5
Bassoon Solos from S cheherazade Score
78
6
Bassoon Solos from S cheherazade Part
79
7
Bassoon Solos from S cheherazade as They Stand in Stadio
81
8
Bassoon Solos from S cheherazade as They Stand in Kessler
83
9
Bassoon Solos from S cheherazade as They Stand in D hérin
85
10
Bassoon Solos from S cheherazade as They Stand in A n g e rh o fer
87
11
Bassoon Solos from Scheherazade as They Stand in Righini
89
12
Bassoon Solos from S cheherazade as They Stand in Bolfan
90
13
Bassoon Solos from Scheherazade as They Stand in K olbinger
91
3
4
Vll
FORMAT OF ABBREVIATIONS AND EDITING PROCEDURES
I have used the follow ing abbreviations in the text. Most of these abbreviations ap p ear in A ppendix A. I have included them mainly to keep the ed ited excerpt book exam ples legible: accel. - accelerando ad lib. - ad libitum dim . - d im in u e n d o m. - m easure m m . m easu res no. - n u m b er nos. - num bers rit. - riten u to
EDITING PROCEDURES
In the excerpt book exam ples in A ppendix A, 1 have circled incorrect m arkings, both textual and m usical notations, and attached the w ord "delete" to the circle. I a d d ed m arkings m issing from the collections, circled them a n d attached the w o rd "add" to the circle. The exceptions to the above rules are incorrect slu r m arkings. W here they appear, I have placed the correct slur
viii
indication above the incorrect indications w ith dashed lines. M arkings w hich appear in the w rong places are circled; an arro w attached to these circles point to the place w here the indication sho u ld actually stand. In this d ocum ent, I have used the sta n d a rd A m erican system of octave notation as described by John Backus w h e n I refer to note nam es (figure 1):^
P jy Cl
C2
C3
C4
05
06
07
08
Figure 1; S tandard A m erican System of O ctave N otation
Ijnhn Rarkn3Anthony van Hoboken. losep h H ayd n T hem atisch-bibligraphisches W erkverzechnis. vol. Ill Register - A ddenda und Corrigenda. (Mainz: B. Schott's Sohne, 1978) 19.
39
F m a jo r. The editor arranged excerpts in alphabetical order by the com posers' last nam es. W hen two-bassoon excerpts are p rin ted , both parts ap p ear on the sam e staff. The editor has clearly indicated w h ich passages are true solos, unison o r tu tti passages w hen only one line of m usic appears. Since m any of the passages included in this volum e are n o longer part of the sta n d a rd orchestral repertoire, this collection may not be the m ost practical for the bassoonist w h o is preparing for auditions. H ow ever, this collection is in terestin g in that one receive an idea of the music w hich w as p o p u la r at the tim e in W elle r's m ilieu. One rarely sees the B ürgm üller, C herubini, Cade, G ernsheim and G oetz excerpts in other collections. [Weller, Curt, ed]. O rchesterstudien fu r Fagott. volum es I and II. M elville, NY: Belwin-M ills, n.d. N either of these volum es of orchestral excerpts includes a m ention of the editor, but the first volum e is an o ffp rin t of the 1909 B reitkopf collection edited by C urt W eller. This w riter assum es that the second v o lu m e of the Belwin collection is similarly an o ffprint of the second v o lu m e of the Breitkopf collection, also edited by W eller. The only difference betw een the tw o versions of the first volum e is the layout of the table of contents. The second volum e uses the sam e form at as the first, b u t in clu d es excerpts by different composers. W eller includes passages from three H aydn Sym phonies, six sym phonies and tw o o v e rtu re s by M ozart, a serenade by Jadassohn, tw o tone poem s by Liszt, tw o sym phonies, an o v e rtu re and m usic
40
from A M id su m m er N ig h f s D ream by M endelssohn: S ym phonische V a ria tio n e n by lean Louis N’icodè, Carl R e in th ale r's Sym phony no. 1, Julius R ietz's Konzert O u v e rtu re . A nton R u b en stein 's Faust. Schubert's S ym phony no. 8 and R o sa m u n d e incidental m usic, S c h u m a n n 's Sym phonies nos. 1,2,3, and 4, T chaikovsky's Sym phony no. 5, and th ree overtures by v o n Weber. Excerpts are arran g ed in alphabetical o rd er by the com posers' last n am es. SUM M ARY In this chapter, I provide a survey of th irty -sev en collections of orchestral excerpts. It is interesting to study the publication dates of these books. Carolyn R abson claim s that "p erfo rm ers h ave had access to collections of orchestral excerpts for in d iv id u al in stru m e n ts since the late n in e te e n th c e n tu ry ." ^ B a s s o o n is ts ap p ear to have had excerpt collections available to th em since the early tw^entieth century. Only six, how ever, w ere published p rio r to W orld W ar II. Since that event, at least thirty-one m ore h a v e appeared. C om paring th e contents of these collections, I notice that the editors focus m ainly on solo passages from the sam e pieces. This suggests th a t stan dard orchestral literatu re is m uch the sam e, w h eth er in the N o r th A m erica or Europe. C ertain com pilers d o not lim it them selves to the stan dard repertoire because of their ovvm professional situations. The Italians
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^Nicolai Rimsky-Korsakov. S c h e h e r a z a d e . First Bassoon Part. (N e w York; Kalmus, n.d) 2-4.
79
Before I stu d y the excerpt collections, I feel that it is im p o rtan t to m ention that som e of these errors noted in this study may be d ue to editorial license rather th an inaccuracy. For exam ple, in all versions, the editors break the slu r to the last accented f^ in the first tw o cadenzas of the second solo. In the score and part, a slu r is indicated, but perform ers usually break the slur, as indicated in the collections. The oth er errors appear to be true m istakes. Ideally, an editor w o u ld enclose their suggested perform ance decisions i n brackets so that the bassoonist knows w h a t the com poser indicates. It is interesting, and u n fo rtu n ate, that certain com pilers appear to have copied the excerpts from each o th er rath er than p ro v id in g a more accurate version of the solo by w orking from the score. In this chapter, the excerpt collections are organized by date of publication rath er th an alphabetically by collection editor. M easure num b ers start at the beginning of excerpts, not m ovem ents.
80
Stadio, C ire, ed. Passi Difficili e "A Solo" per Fagotto M ilan: Ricordi, 1932, 1954 (reprint), 121 (figure 7).
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87
First solo - The excerpt stands exactly as it does in the score except that it lacks the ad libitum in dication at the o p en in g .
Second solo - In the second and third cadenzas, the crescendo and occelerando indications should both be notated where the accelerando stands. The editor breaks the slu r to the last accented f,4 in the first two cadenzas of the second solo.
Righini, Fernando, ed. II Fagotto in O rchestra. Milano: Published by A u th o r, 1971,173-4 (figure 11 - on next page). First solo - stands exactly as it does in Stadio. Second solo - Stands exactly as it does in Stadio, except that the decrescendi in the second and third cadenza stand directly below the first note, instead of u n d e r the rest as in Stadio.
88
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101
TRANSLATION OF LETTERS
From David O yen to H ofm eister P u b lish in g Firm, 17 May 1998 To W hom it m ay concern: I study at the O hio State U niversity in Columbus, OH, USA, and am currently writing about the stu d y of bassoon orchestral excerpts. I w ould like to pose a few questions on y o u r editions. First, I am searching for the dates of publication (first ed itio n and fu rth er printings) of the follow ing collections: 1. O rchesterstudien fü r alle Instrum ente: Fagott. Friedrich G um bert u n d Christ. W iegand, H erausgeber. (from the early 20th centur} ?) 2. O rchesterstudien für alle Instrum ente: Fagott. Georg Junge, H erausgeber, Hefte 1-4 und 10. R aim und Mages, Herausgeber, Hefte 5-7. (from the 1950's) I am also curious w h e th er you know w hy the dates of publication are often not listed in these volum es. I w ould be very pleased if you could take the time to answ er this letter. Please contact me in the m an n e r for you w hich is most convenient: Fax: 614/292-1102 (USA) e-mail: oyen.l@ osu.edu Post: 1283 Forsythe A venue Columbus, O H 43201 W ith friendly greetings, David CH^en
102
From Renate Unger to David Oyen D ear Mr. Oyen, I can give you the follow ing inform ation after y o u r inquiry: regarding ?2 Orchesterstudien fiir alle Instrumente - Fagott (Junge/M ages): V olum e V olum e V olum e V olum e
1 2 3 4
(Junge) (Junge) (Junge) (Junge)
First First First First
P rinting Printing Printing P rinting
1956 1954 1954 1954
V olum e 5 (Mages) First Printing 1962 V olum e 6 (Mages) First P rinting 1962 V olum e 7 (Mages) First Printing 1965 V olum e 10 (Angerhofer) First Printing 1962 reg arding #1 Orchesterstellen fiir alle Instrumente - Fagott (G u m b e rt/ W iegand): T he edition was taken over by the firm M erseburger in 1935. Since F riedrich G u m b ert (also Gum pert), b o m in 1841, had died by 1906, the editions a p p ea re d p resum ably around 1900; it is not possible to find exact dates. In hopes that you can use this inform ation in yo u r study. W ith friendly greetings, R enate U nger, editor
103
BIBLIOGRAPHY
Akos, Katherine, M arshall Burlingam e, and Jack VVellbaum. Facing the Maestro: A M usician's Guide to O rchestral A udition R ep erto ire. W ashington D.C.: A m erican S ym phony Orchestra League: 1983. Albert, ed. Orchestral Studies from Operas a n d Concert W o rk s. X ew York: International, 1947. A ngerhofer, Günter, ed. O rchesterstudien fü r Fagott. Heft 10. Russische u n d Sovvjetische M eister. Leipzig: H ofm eister, 1962. A ngerhofer, G ünter an d W em er Seltm ann, ed. Das Fagott. Band VI - Das K ontrafagott. Leipzig: VEB D eutscher V erlag für M usik Leipzig, 1984. Apfelstadt, Marc and R onald Klimko, ed. B assoon Perform ance Practice. Teaching M aterials. Techniques and M e th o d s. Moscow, ID: School of M usic Publications, U niversity of Idaho, 1993. Avery, M ark. "A C om parative Exam ination of the N otation of Selected Orchestral Bassoon Solos." The Tournai of the International D ouble Reed Sodetv 25 (1997): 29-43. Bach , Johann Sebastian. A rnold Schering , ed.. B randenburgisches K onzert no. 1 in F m ajor. BWV 1046. Leipzig: Eulenburg, 1927. Bach , Johann Sebastian. The Four Suites (O vertures) for O rchestra. N ew York: Lea Pocket Scores, n.d. Backus, John. The A coustical Foundations of M usic. New York: W .W . N orton and Co., 1977.
104
Jeanne B axtresser and M artha Rearick. Orchestral Excerpts for F lu te . Ed. D aniel Dorff. Bryn \IawT, PA: Theodore Presser Com pany, 1995. Ludwig v a n Beethoven. Vollstandig kritisch durchgesehene überall berechtigte Ausgabe: Sinfonie =4 in B dur. Serie I, 1-4. (.Ann .Arbor: E dw ards, 1949) 245, 279. Bohm, Johannes, ed. Richard Strauss: O rchesterstudien aus den S ym phonischen W erken für Fagott und K ontrafagott. Leipzig: Peters, 1910. Bolfan, M arijan, ed. Orkestarske Studije za Fagot. Knjazevac, K aradordeva (Yugoslavia): Izdavca organizacija, 1980. Borst, David. A n Integrated A pproach to the M aster Bassoon Class. Diss. E astm an School of Music, U niversity of Rochester. Ann Arbor: UMI, 1975. Bulling , Bur chard. Fagott B ibliographie. IV ilhelm shaven: 1989.
Xoetzel Verlag,
Chicago S ym p hony O rchestra P rogram s. Vols. 35-67. Chicago: O rchestral A ssociation, 1925-58. C orey, G erald. "H om age to V incenzo Pezzi." To the W orld's B assoonists. 1:1 (1969): 3. Dunkel, S tu art Edw ard. The A udition Process: Anxiety^ M anagem ent an d Coping Strategies. Stuyvesant, XY: P endragon Press, 1989. Eifert, Otto, B ernard Garfield and M atthew Ruggiero. "Bassoon O rchestral A uditions." Tournai of the International Double Reed Society. 10 (1983): 78-83. Gallwey, T im othy and Barry Green. The Inner Gam e of M usic. X ew York: A nchor Press, 1982. Garfield, B ernard and K athleen W hite. The Bassoon Player's O rchestral R epertoire: Tchaikovsky Sym phonies no. 4 .5. and 6. vol. I. Hackensack, XJ: Jerona M usic C orporation, 1984. Gaylord M usic Library Necrology Database. W ashington U niversity in St. Louis (1998 —copyright), 20 May 1998, .
105
G oodm an, Alan. "A Practice G uide for the Bassoonist." The In s tru m e n ta lis t. 35:6 (1981)62-4. G um bert, Friedrich, and C hristian W iegand, ed. O rchesterstudien fü r Fagott. Eine S am m lung schw ieriger Stellen aus S ym phonien und a n d e rn W erken. H eft I. Leipzig: H ofm eister, ca. 1900. G um bert, Friedrich, C hristian W iegand a n d W ilhelm K nochenhauer, ed. O rchesterstudien fur Fagott von G um bert-W iegand. Heft H. Leipzig: H ofm eister, ca. 1930. Hawkins, Alan. M elodious and Progressive Studies, books I and H. S a n Antonio: S o u th ern M usic C om pany, n.d. Hazlewood, B edford C harles Jr., "The C om positions for Bassoon of G eorg Junge." diss. Texas Tech U niversity , 1996,5-9. H eintz, Frank. O rchestral E tudes for B assoon. Book One. Kentfield, C.A: Raym ond Ojeda, 1988. H elm , Eugene a n d A lbert T. Luper. W ords and M usic. Hackensack, NJ: Boonin, 1971. H erz , G erhard. C antata N o 140. W achet auf. ruft uns die S tim m e . The Score of the X ew Bach Edition. Backgrounds. Analysis. Views a n d C o m m e n ts. N ew York: N orton, 1972. H ilton, Lewis B. From Bass to T enor Clef for the B assoon. M acomb, IL: Roger D ean Publishing, 1977. H oboken, A nthony van. Joseph H aydn T hem atisch-bibligraphisches W erkverzechnis. vol. HI R egister - A ddenda u n d C orrigenda. M ainz: B. Schott's Sohne, 1978. 3 vols. Jacques Cattell Press, ed. W ho's W ho in A m erican M usic. N ew York: R. R. Bowker Co., 1985. Jansen, Will . T he Bassoon. Its H istorv. Construction. M akers. Plavers a n d M usic. Vol. 4. Buren, The N etherlands: Uitgeverij Frist Knuf, B.V., 1978. 6 vols. Junge, Georg, ed. Fagott-S tudien. vol. J an d JJ. Berlin: Friedrich W ilh e lm Frohlich M usikverlag, 1938.
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