Abstract
Introduction
Classification of Vogt's Compositions
The 16 Oboe Concertos
Chronology of the Vogt Concerti
Keys of the Concerti
First Movements
Second Movements
Third Movements
Virtuosic Passagework
Orchestration
Period Performance Practice as Reflected
in the Compositional Procedures of Vogt's Deuxième Concerto
Conclusion
Fingering chart for the
four-keyed Oboe from Vogt's Méthode de Hautbois c. 1813.
(Ex. 11)
Bibliography and Sources
Consulted
Endnotes
About the Writer
Photograph: Vogt's likeness, which was given to the Conservatoire de Musique in Paris by his student, Auguste Bruyant on July 6, 1878. This reproduction and those of Vogt's manuscripts and publications in the Bibliothèque Nationale are presented in this article through the courtesy of Prof. Francois Lesure, Director of the Department de la Musique of that institution.
Abstract: In the
course of locating certain 19th century oboe concertos, the author
came upon a collection of works in the Bibliothèque Nationale, Paris, by the supreme
French oboist of the era, Gustave Vogt. Corollary discoveries
followed in Milan and the U.S. After surveying Vogt's substantial
output in the concerto genre, the author goes on to trace the
metamorphosis of a selected work through several manifestations,
published and manuscript, through the year 1940. In so doing, certain aspects of I 9th century composition
and performance practice hitherto largely overlooked are illuminated.
The
oboist, Gustave Vogt (1781-1870) stands at the beginning of a
line of distinguished performers who continually sought to perfect
the manner of playing and teaching of their instrument. The list
of these artists extends from Vogt's students Henri Brod, Apollon
Barret, and Stanislas Verroust, through Georges Gillet and Marcel
Tabuteau, to such formidable present-day oboists as John Mack,
the Gomberg brothers, and John de Lancie.
In addition to being the supreme pedagogue of the oboe during the early 19th century, Vogt was also a most prolific composer of music for his instrument. His compositions, especially the concertos, demonstrate that he was to the oboe what his great contemporary, Nicolò Paganini, was to the violin. But unlike the music of Paganini, Vogt's considerable output has passed into oblivion.
One reason for the disappearance of Vogt's music from the present-day repertory is that most of it was composed specifically for his own use and never reached publication. Another reason rests with the fact that by the middle of the 19th century, the changing values of European society had raised the piano, violin and cello to the highest artistic plane, relegating the wind instruments to the background. This fact is reflected in the general absence of soloistic works for the oboe from the output of leading composers of that day. Thus, even those works by Vogt which were available in publication, slowly fell out of vogue as Romanticism reached its apogee and Europe moved into the 20th century.
A measure of how scarce the available solo repertory for oboe had become by the early 20th century is to be found in the following statement by Frank Kidson in the 1907 edition of Grove's Dictionary of Music and Musicians: [1] "It is impossible within brief limits to do more than indicate the use made by great composers of an instrument [the oboe] which is at once historically the oldest and musically the most important of the reed band. It may, however, be noted that it possesses singularly little solo or concerted music. "
The efforts of Léon Goossens toward the middle of the 20th century went a long way in beginning a reversal of the public's attitude towards oboe soloists. But it has taken the genius of Heinz Holliger in the 70's and 80's to cause modern society to realize what great beauty is to be heard in the performance of a master player. Still, for reasons which will presently become apparent, Holliger's enormous discography does not yet include any music by Gustave Vogt.
Classification
of Vogt's Compositions...
Perhaps as early as 1864,
Gustave Vogt gave all of the manuscripts of the compositions which
he had retained, to his student Auguste Bruyant, who, following
Vogt's death presented most of this corpus to the music library
of the Paris Conservatoire.[2] The Conservatoire collection itself was eventually
moved to the Department de la Musique of the Bibliothèque Nationale. In addition to the works of Vogt
acquired from the Conservatoire, the Bibliothèque Nationale possesses a separate collection
of Vogt's published music which it had been accumulating over
the years as the national copyright depository. At the present
time, the Conservatoire collection is still catalogued separately
from the main music collection. In addition, one folio of sight-reading
pieces by Vogt was deposited in the Archives de France rather
than in the Conservatoire collection, and it remains there to
this day. The famous Musical Visitors' Book kept by Vogt
is located in the Pierpont Morgan Library in New York City.[3]
To be sure, several works by Vogt never reached the collections of the Bibliothèque Nationale, most notably the first two published oboe concertos. Fortunately, the library of the Conservatorio di Musica Giuseppe Verdi in Milan contains at least the solo parts of these works.
Based upon the contents of the above collections, Vogt's solo music for oboe and English horn consist of the following works:
16 Oboe Concerti:
13 for oboe
1 for English horn
2 for two oboes
[1 alternately for oboe and bassoon]
14 Scènes and Variations
based on excerpts from operas and ballets; several accompanied
by orchestra, others in chamber music format:
5 for oboe
10 for English horn
[including several with voice]
15 Sets of Variations on non-operatic subjects for oboe; some
accompanied by orchestra, others in chamber music format:
1 based on a motet
[for English horn and voice] 1 based on a chanson 4 based on folk
songs 9 based on original themes
33 Chamber Music Works
1 unaccompanied solo for oboe
6 duos for two oboes
3 works for oboe and piano
3 works for English horn and piano
3 trios for three oboes
1 trio for two oboes and cello
3 trios for two oboes and English horn
1 trio for two English horns and basset horn [lost]
1 work for oboe, bassoon and piano
3 oboe quartets [I with winds]
1 English horn quartet [with winds]
1 work for two oboes, English horn and piano
2 oboe quintets
1 English horn quintet [with winds]
1 oboe sextet
1 work for English horn and large chamber ensemble
1 work for oboe and cello with large ensemble
Pedagogical Materials:
2 sight-reading folios: oboe accompanied by cello
1 sight-reading folio: oboe accompanied by wind quartet
1 sight-reading item
1 oboe method
In addition, Vogt composed a number of works which do not involve
the oboe or English horn, or in which these instruments function
within a large ensemble.
The
16 Oboe Concertos...
During the initial years
of the 19th century when Gustave Vogt was in his early 20's, he
was quickly recognized by Parisian musicians as a very valuable
player. As a result, he assumed several of the most prestigious
performing positions in Paris. Among these were first oboist of
Napoleon's Imperial Chamber Music[4] (from 1802), first oboist of the Paris Opéra (1812-1834), and professor of oboe at the
Paris Conservatoire (1803-1853). As a result of the connections
made while holding these positions, Vogt was able to participate
in every sort of music-making in the French capitol, especially
the concerts given at the Conservatoire, in which he played until
1844. Over the years, the occasion would present itself for Vogt
to play in Strasbourg, London, Munich, and Stuttgart.
Since opportunities had quickly arisen for him to appear as a soloist, there developed a need for Vogt to create compositions to play with orchestra, because an available published body of such music simply did not exist at that time. Although a number of sets of variations and scenes based on the favorite operas of the day began to appear from his pen both for oboe and English horn, Vogt's greatest interest lay in the composition of concertos. In all, he wrote 165 works in this genre.
In order to determine the probable order of appearance of these 16 concerti, each manuscript or publication, with the exception of the Troisième Concerto (which is lost) was subjected by the present writer to a thorough analysis. As a result, the following stylistic chronology was developed.
Chronology
of the Vogt Concerti
The call numbers of the full
scores in this list are those of the Department de la Musique
of the Bibliothèque Nationale
in Paris (F-Pn). Unpublished works are marked with an asterisk.
Table with listing of Vogt Concerti
Dating these concerti has been made difficult by several factors. For example, the manuscripts of Concertos IV and V are each dated 1824. However, this might only indicate when the copying of the autograph scores was completed, since these two works fall stylistically into the period before Concerto VII of 1812. The Solos de Concert series are also difficult to organize, because all that is known for five of them is the date of publication, and this is often several decades after the work was composed. For example, the ler Solo de Concert was published for oboe and piano in 1876, but the manuscript full orchestra score (F-Pn: Ms. 16.792) is dated 1840. The only other works among these concerti which can be given realistic dates are Concerto VII (the Deuxième Concerto of 1812) and Concerto IX (the Concertino per l'Oboe Principale of 1824).
Stylistically, the Vogt concerti fail
into three periods:
Late Classic......Concerti I-VI
Early Romantic......Concerti VII-X
Late Romantic......Concerti XI-XVI
The peculiar Late Romantic style of the two Duos pour Deux
Hautbois et Orchestre and of the Solos de Concert I, II,
V and VI in particular might better be designated Paris Conservatoire
or Concours Style, in reference to the institution for which the
latter were intended.
Two of the concertos, X and XI in the above list, were published by the house of Richault as part of Vogt's "Lettre Musique". The complete series of the works includes the following:
Lettre A: Solo de Cor Anglais: Priere
de Zingarelli
Lettre B: Air Varié en F:
Theme Original
Lettre C: 4e Concerto [Concerto X]
Lettre D: Duo pour deux Hautbois [Concerto XII
Lettre E: 8ème Air varié en sol: Theme Original
Keys
of the Concerti...
The keys of the concerti
reflect the tonalities in which the four-keyed Delusse oboe advocated
by Vogt could be played most comfortably, namely C Major, F Major
and their relative minors. On the other hand, the modulation to
secondary tonalities throughout the movements of these concerti
greatly expanded the availability of keys, particularly since
Vogt created these concerti at a time when harmonic relationships
of the third were being fully explored.
Likewise, the second movements extended the use of tonalities which were available on the fourkeyed Delusse instrument. In the first six concerti, which were composed in the Classic tradition, the subdominant is the preferred tonic of their second movements. Beginning with the seventh concerto I which is the first in which one recognizes traits of Romanticism, relationships of the third, specifically relative major, mediant, and sub-mediant, are the preferred tonalities for second movements.
First
Movements...
The use of ritornello form
for the first of three movements in the Classic fast-slow-fast
format was maintained by Vogt in all but three of his concerti:
Concerti I and 11 omit the fast first movement, and the opening
movement of Concerto XII is composed in binary form. The opening
ritornelli of his Classical and Early Romantic concerti tend to
be quite extensive, presenting two contrasting subjects and several
closing themes. On the other hand, the Late Romantic Style of
the Solos de Concert, reflects a changed attitude towards
the function of the opening ritornello: here they are quite short
and a reduction to just one theme makes these ritornelli appear
to be simply introductions to the remainder of their respective
movements.
Secondary themes coupled with a secondary tonal area are found without exception in Episode I (vide infra) in all of Vogt's first movements in ritornello form. A recapitulation of Episode I as Episode III is found until the appearance of Concerto IX of 1824. From the concerto onward, not only is the recapitulation missing in Vogt's concertos, but the development section (Episode II) is either curtailed or completely lacking. In these later concertos the first movement is coupled by transitional material to the second movement and likewise, the second movement is coupled to the finale.
Already as early as Concerto V, Vogt had omitted the traditional cadenza from the final ritornello of his first movements. Instead, he found positions in the two remaining movements for these flourishes, of which he was a master. In the case of Concerto V, Vogt has written-out cadenzas for the second movement.
Two of Vogt's Classical works, Concerto III and Concerto IV, have slow introductions preceding the ritornello form first movement. In the introduction of Concerto IV, there is provision for no less than three cadenzas. Neither of these concerti has a second or third movement.
One of the major characteristics of Vogt's style in general is that closing themes form an important part of the thematic material. Many movements can be found to contain a wealth of such key-reinforcing tunes.
Second
Movements...
The preferred structure in
Vogt's second movements is ritornello form. It can be found throughout
all three of his stylistic periods. The other predominant structure
is binary form. Concerto XI uses a theme
and variations format while Concerto IX contains a second movement
in what appears to be sonata form minus the recapitulation. The
coupling of second movement to finale (beginning with Concerto
IX) has already been mentioned in conjunction with the coupling
of the first movement to the second. This manner of composition
suggests that Vogt conceived the Romantic Oboe Concerto as a genre
comparable to a scene in opera - a logical choice for the man
who was principal oboist of the Paris Opera for 22 years.
Third
Movements...
The majority of Vogt's concerti
end with a rondo .5 There are occasions where Vogt has used the
appellation "rondo" simply to indicate that the primary
theme of a structure, although not a rondeau, is in the piquant
style often used for rondos. Such is the case in Concerto I, where
the third movement is found to be a set of variations on an original
theme of which Variations IV, V and VI form a polonaise.
A theme and variations also forms the original finale of Concerto VI, but Vogt later replaced this movement with a rondo. Concerto VII originally ended with a rondo but since Vogt later decided to utilize this same movement as the finale of Concerto X, he removed it permanently from Concerto VII and reversed the two remaining movements! There is the possibility that at one time he might have used the work he entitled Rondo a la Polaca as the finale of this work.
Binary form is to be found in the finales of Concerto XI and Concerto XIV (a bolero). Concerti XII, XIII and XV maintain the scherzo with trio structure for the third movement, but Vogt labels the latter two "rondo".
Virtuosic
Passagework...
In Vogt's early years as
a professional oboist, the virtuosity of Nicolo Paganini was thrilling
all of Europe. The first movements in particular, of Paganini's
violin concerti are quite remarkable for their closing themes,
which are constructed especially to show off the many specialized
feats possible on the violin. These include double stops in thirds,
sixths, and octaves, all of which are of course impossible to
play on the oboe. Therefore, in order to seem as glamorous as
his great contemporary, Vogt had to resort to fast moving scalework
and the outlining of chords through arpeggiation in the closing
themes of his concerti.
Insofar as other areas of virtuosity, such as long cantilena themes, florid ornamentation, cadenzas, and wide leaps were concerned, Vogt took full advantage of these delights and filled his concerti with them. It should be mentioned that his numerous sets of variations were convenient places to explore all of these possibilities on a much smaller scale before applying them to the more complex structure of the concerto.
The techniques of bisbigliando, fluttertonguing, and chords, although possible on the four-keyed oboe, were not explored by Vogt or any other 19th century oboist.[6] But the application of the techniques of double-tonguing, and circular breathing, both of which had been utilized by oboists since the invention of the instrument is definitely possible throughout the entirety of these works.
It is interesting to note that Vogt did not care to use any of the complex oboe mechanisms available in the early part of his career, because he feared not only leakage of the pads, but was also afraid that he would accidentally touch one of the added keys and ruin an otherwise magnificent phrase! In commenting on the oboes with up to nine keys which were coming into use in Germany, he has this to say on pages 16-17 in his Methode de Hautbois (c. 1813):
This advantage is too strongly counterbalanced by the inconvenience which the keys bring, in sometimes not hermetically closing the holes over which they have been fitted...
... the other [keys] do not contribute to the perfection of intonation, and can hinder the execution, because they are located next to the finger holes of the instrument, which are so nearby each other that it is at every moment to be feared that in wishing to cover a hole, the finger might touch one of these keys, thus disturbing the air column and ruining the entire passage as a result.[7]
Such was the situation for all 19th century oboists at a time
when new mechanisms were coming onto the market every few years.
It is ironic that Vogt, who cared little for the new manufacture
in his early years, was the teacher of two of the most important
creators of these musical products of the Industrial Revolution;
namely Henri Brod and Apollon Barret. The latter worked in conjunction
with the firm of Triébert
which eventually devolved to Lorée[8], a most important maker of oboes in the present
day.
Orchestration...
Of the concertos which Vogt
composed in the Classical style, numbers I through V require small
forces in the orchestration. An example of this can be seen in
Concerto V, which calls for the following:
Oboe Solo
2 Clarinets
2 Horns in F
I Bassoon
Violin I
Violin II
Viola
Violoncello (& Contrabass)
The wind section of Concerto IV is somewhat larger, consisting
as it does of:
2 Flutes
2 Clarinets
2 Horns (in D and C)
2 Bassoons
2 Trumpets in D
Timpani
Several concerti composed by Vogt in his Romantic Style periods
call for large orchestras. For example, Concerto X is scored for
the following:
Oboe Principale
1 Flute
2 Clarinets in B
2 Horns in D
2 Horns in F
2 Bassoons
2 Trumpets in D
Timpani
3 Trombones
Violin I
Violin 11
Viola
Violoncello
Contrabass
The orchestral versions of Concertos XV and XVI (Solos de Concert
V and VI) are not found among the manuscripts of Vogt's music
located in the Bibliothèque
Nationale. Perhaps he never attended to orchestrating these works.
Period
Performance Practice as Reflected in the
Compositional Procedures of Vogt's Deuxième Concerto...
Frontispiece
of the Pleyel edition of Vogt's Deuxième Concerto (Ex.
1)
First Page of the solo oboe
part of Vogt's Deuxième Concerto in the Pleyel edition
(Ex. 2)
Gustave Vogt was 18 years old in 1799,
the year in which he received his Premiere Prix from the Paris
Conservatoire. Although he had already begun his performing career,
he continued on at the Conservatoire in order to study harmony
with jean-Baptiste Rey (1734-1810),[9] a proponent of Jean-Philippe Rameau's theories.
This "post-graduate" work took place sometime between
1799 and 1802.[10]
It would be interesting to know which compositions served as Vogt's
models during this time. Could it be that Giovanni Battista Viotti's
violin concerti, which were so famous in the French Capitol, were
among those models?
The binary form structure of several thematic sections found within
the rondeau finales of Vogt's
Concertos 11 and V suggests an acquaintance with oboe concerti
by Josef Fiala and Francesco
Antonio Rosetti both of whom worked at the court of Dettingen-Wallerstein.
Perhaps details concerning this style as well as that of Mozart
and Beethoven had come to Vogt through Anton (Antoine) Reicha
(1770-1836), his composition teacher by 1808, the year Reicha
arrived in Paris.[11]
Certainly by 1812, when Concertos VI and VII had been published,
Vogt had been building for some time upon the ideas imparted to
him by Reicha.
At this point, an understanding of Vogt's compositional procedures can best be understood through analysis of a typical concerto chosen from among the 16 composed by him. Since Concerto VII, the Deuxième Concerto, is the only one still in print,[12] it seems a logical choice. Further, the historical background of the Deuxième Concerto should throw considerable light on certain compositional and performance practices of the 19th century which, until this time, have been overlooked. This concerto, in use over many years, reflects a concept of "continuous composition" which was practiced on this work and others like it, not only by the composer, but also by his student, August Bruyant, and later in America by Albert Andraud.
In the discussion of this concerto, it will be necessary to look at each of the five versions known to exist. In the present study these are labeled A, B 1, B2, C 1, and C2 (vide infra). Also, certain adjunct movements, in particular the finale of the 4e Concerto (Concerto X) and the Rondo a la Polac[c]a, will be examined.
The second "published" concerto of Gustave Vogt, Concerti
VII, dates from his second style period, that of early Romanticism.
The year of publication, 1812, was derived by comparing the place
of business for the house of Pleyel given on the frontispiece
of the oboe part against the list of dates with locations found
on page 100 of Cecil Hopkinson's A Dictionary of Parisian
Music Publishers. Since the thematic material in the first
movement exhibits melodic contours usually associated with the
Romanticism of the 1840's (for example, Felix Mendelssohn's Violin
Concerto in E Minor of 1844), the published date of 1812 is,
therefore, most remarkable.
As in the Premiere Concerto (Concerto VI), Vogt lists among his credits the fact that he is Premier Hautbois de la Musique Particuliere de sa majeste [Napoleon 1]. In addition, Vogt notes that he is now Professor Adjoint du Conservatoire Imperial de Musique.[13]
The movements of Version A are found as follows in an imprint of the solo oboe part located in the library of the Conservatorio di Musica Giuseppe Verdi in Milano where it has the call number A-33-26-3:
Frontispiece, p. 1.
I: 2/2 Allegro, pp. 2-3.
II: 6/8 Andante sostenuto, p. 3.
III: 2/4 Rondo Allegretto, pp. 4-5.
The Form of the First Movement: Opening, the
rest of the movement
Because Ritornelli I, II, and IV are not notated in the oboe part, which is the only item extant from Version A, the parallel passages in Version B I have been added to the above analysis. Still, there is no way of discerning whether or not Theme 2 appeared in Ritornello I, and if Ritornello IV maintained the relative major, as in Version Bl, or returned to the tonic.
The absence of a Ritornello III in this movement is common in late 18th and early 19th century concerti, but the shortness of Ritornello II is unusual: just seven measures. Also, the usage of biii of III at the inception of Episode II (development) should be noted, as it is an indication of Vogt's lifelong interest in manipulating relationships of the third.
Perhaps the most telling feature of this movement is the failure of Theme I to reappear in Episode III (recapitulation). This concept is also found in the first movement of Vogt's Concerto VI, the Premier Concerto. But what is even more unusual here is that the recapitulation is presented in the relative major rather than the parallel major.
In conjunction with the use of e3 and f3, which are two of the highest notes on the oboe but which are not found in Version A of Concerto VII, Vogt's commentary from pages 30 and 31 of his Methode de Hautbois is worth noting:
"...The E-natural or F-flat... as well as the F-natural, F-sharp or G-flat and the G-natural, about which I shall not say anything in particular, are extremely risky. They are to be used only in the treacherous finales preceding the cadenza in concertos, or in orchestral soli. In orchestral tutti [these notes] would be ineffective, the quality of sound not being voluminous enough [to be heard].[16]
Perhaps the omission of the cadenza section at the end of the first movement of the Deuxième Concerto made it difficult for Vogt to justify musically the use of his highest notes there.
The form of the second movement
With the absence of notation for Ritornelli 1, Ritornello 11, and for the internal tutti at measure 30, (due to the fact that the soloist is resting at these three places), one can only assume that these sections were similar to those found in Version B I. In that case Ritornello I would have consisted of a transition from the first movement over a pedal point on the dominant, and both the internal tutti and Ritornello 11 would have been closing themes based upon Theme 1b.
The body of the rounded binary form Episode is followed by Ritornello II whose closing material, if we were to follow the analogous passage in Version B1, would lead to the dominant of the third movement. And that might actually be the case here, as the end of the second movement of the oboe part is marked Subito il R[on]do, indicating that the second movement is to be joined immediately to the third, perhaps because it has been left hanging up in the air on the dominant of the third movement.
Principal theme of the
Rondo of Vogt's Deuxième Concerto (Ex. 3)
The form of the third
movment
This is the first of three rondos intended as the finale of Concerto VII. The structure consists of three ritornelli and two episodes. Theme 3 resembles in general Theme la but Theme 2 appears to be a diminution of the opening motive of Theme la from Movement 1. Both Themes 1 and 3 are constructed in rounded binary form.
Episode II is clearly a recapitulation of Episode I. Vogt changes the key signature to D Major at this point, marking the part with the word "Majeur".
The inception of Ritornello III on Theme lb puts it in the dominant until la appears after the cadenza; an interesting touch. The end of Ritornello III includes the closing themes associated with Episode I (in minor mode).
If the published parts of Version A (F-Pn: K.10.128) can ever be located, performances would again be possible. In lieu of that, Version B 1, a full score reflecting a different kind of Early Romantic charm, could be performed if parts were made.
In conjunction with this work, a copy of the Christophe Delusse oboe owned by Vogt (the original of which is in the instrument museum of the Paris Conservatoire) might be utilized. A photograph of it is to be seen on page 148 (plate 175) of Phillip T. Young's The Look of Music.
Version B1
Version B1 is a full score of
the Deuxième Concerto. In
a note on its frontispiece, August Bruyant designates it as "plus
moderne". The pagination of this manuscript, (in the Bibliothèque Nationale: Ms. 16.802) is as follows:
| [Bruyant Note 1] | 33-43: II: 6/8 Larghetto sostenuto |
| Frontispiece with Bruyant Note II] | 44-74: 111: 2/4 Rondo Finale Vivace |
| 1-33: 1: 2/2 [no tempo given] | 75: 11: Alternate version of Ritornello II |
The layout of the orchestration:
| Timballes [sic] en Ré, La | Cors en Ré | Hautbois Princip[ale] |
| le Trombone | Cors en Fa | le Violon |
| 2e Trombone | Clarinettes en Ut | 2e Violon |
| 3e Trombone | Flute | Alto |
| Trompettes en Re | Bassons | Basse |
First Movement...
In Version B 1, Ritornello
I has been shortened from the 71 measures of Version A to 58 measures.
In view of an absence of notation for all of the ritornelli contained
in the oboe part of Version A, one can only surmise that one of
two things occurred to Version A during this shortening process:
1. Theme 2 was removed from the end [measures 59-71] or before
1k1 [measure 281 where it had been placed in the parallel major.
or
2. Theme 2 was removed from the center of the transition [measure
23] where it had appeared in the relative major.
Other ways in which Version B I differs from Version A follow.
For an understanding of the practices of ornamentation used by
Vogt, the most significant are la, 1b, and 2a:
1. Episode I:
a. Theme 1a: duplets changed to triplets.
b. Theme 1b: some rewriting of the passage; more ornamentation.
c. Theme 1k2 removed: 8 measures reduced to 2.
d. Theme 1k3 given repeats.
e. Lead-in to Theme 2: reduced from 7 to 5 measures.
f. Theme 2: inception expanded from 4 to 8 measures.
2. Episode III [Recapitulation]:
a. Theme 2k2 rewritten [repeats maintained]. Also, two other possibilities
are sketched out at the bottom of pages 24 and 25.
b. Theme 2k3 expanded from 10 to 18 measures.
Ritornello IV of Version B1 (pages 28-33 of the full score) may
be seen as part of the analysis of Version A. The difference between
the two versions lies in that rather than reducing the length,
as was the case for Ritornello I, it is expanded from 22 measures
in Version A to 30 measures in B1.
One can only surmise that in Version A, the work ended on the tonic of D Minor. And that in Version B2, where the movement ends on the dominant of the second movement (which is in F Major), Vogt needed more space to set up what is basically a transition rather than a closing theme.
Second Movement...
The changes made to Version
A in Version B1 are as follows:
1. The tutti closing material before the return of Theme I a (at
the end of the Episode) is expanded from 3 to 5 measures and is
clearly built from Theme 1b.
2. One measure is removed from the return of Theme la.
3. A closing theme [1ak] is added after the return of Theme la
and is built from Theme 1b.
4. Ritornello 11 is expanded from 6 to 8 measures and is clearly
constructed from Theme 1b.
Third Movement: Rondo II...
An entirely new rondo replaced Rondo I:
Example 4: Comparison
of the principal theme of Rondo I I from Version
B1 of the Deuxième Concerto and fro-in the 4e Concerto
(Ex. 4)
The form of Rondo II
This new rondo is constructed like a scherzo with trio, reflecting the early Romantics' love of the short form. Clearly then, Vogt was trying to update his Deuxième Concerto of 1812 for a later performance, perhaps in the 1830s. But as seen by the section at measure 281, he did not miss a chance for some development. He maintains within this movement one of his main characteristics; that is, the use of multiple closing themes. Also, the use of the oboe's low B [reflecting the use of a key especially associated with the new oboe mechanisms being created in the early 19th century] is seen in the development section of Ritornello II, beginning at measure 281.
Even before Rondo II had ousted Rondo I, there might have been a time when the Rondo a la Polacca was utilized as the finale of the Deuxième Concerto. Rondo II was eventually moved, albeit in a modified form, to the 4e Concerto, to become its finale.
Besides the full score (Version B I), Vogt's solo oboe part (Version B2), is included in the folio at the Bibliothèque Nationale catalogued as Ms. 16802. A note at the top of this oboe part lists it as the second manuscript. But it must be the third manuscript since, for example, Ritornello I of the first movement is found to be shorter than that of the full score (Version Bl), which is the second version. Perhaps the note simply means that the oboe part is the second one made for the second version of the concerto.
The layout of this oboe part is as follows:
[Frontispiece]
I: 2/2 All[egr]o
II: 6/8 And[ant]e sostenuto
III: 2/4 Rondo Finale Vivace
This oboe part has obviously been prepared in conjunction with
the full score of Version B1. It contains a number of changes
that Vogt was possibly thinking of making in the full score. Several
passages have been pasted over with newer versions. Divergences
from the full score are found as follows:
First Movement...
1. Ritornello 1: 49 measures
rest rather than the 58 in Version B1. Cues of the Violin I indicate
that the transition has been modified.
2. Episode III: new version of the closing theme W.
3. Ritornello IV: 32 measures rest rather than 30 of Version B1.
Appears to be copyist error.
Second Movement...
According to the oboe part, there is only one cadenza.
But the full score of Version B1 indicates that another cadenza,
one measure after the first, was contemplated and then crossed
out.
Also, seven measures rest after the end
of the Episode are not notated as the oboist is resting.
Third Movement: Rondo II
At the inception of the Episode (measure 94) on page 49
of the full score (Version B 1), 36 measures are crossed out,
after which the passage starts anew on page 50. In the oboe part
of the Episode, a four-line paste-over beginning at measure 108
makes modifications to the transition contained in this same Episode,
including lengthening it by 18 measures and changing some duplets
to triplets. Clearly, Vogt was struggling with this section.
There is also a copyist's error in the oboe part at measure 281, where the cues of the tutti before the development of la are notated. Later on, at measure 310, three bars of correct notation are hatched over.
The score (Version B1) also includes a sketch of an alternate version of closing theme 1k3 extension. This sketch is the basis of the new version that appears in the oboe part (Version B2).
Third Movement...
When Rondo II was used in
the 4e Concerto as its finale the following changes were made
to it:
1. Ritornello 1:
a.Theme 1a: contour was revised [see full score Version B1, page
44 for sketches].
b.Theme 1a: tutti removed.
c.Theme 1a: iv-V version: modified from 10 to 8 measures.
d.Theme 1b: 2-measure fragment added at beginning; final 4 measures
of tutti inverted.
2. Episode:
a. Transition: contour modified; 10 measures modified to 8.
b. Theme 3 and its closing: some contour modifications but basically
identical to that found in Versions B1 and B2.
3. Ritornello II:
a. Theme 1a: shortened from 16 to 8 measures.
b. Theme la in iv-V version: omitted.
c. Theme lb with the tutti: rewritten.
d. Theme lb with pedal point followed by Theme 1a: omitted.
e. 1k3: 3 measures derived from Theme 2 added at beginning.
Rondo III (Ex. 6)
Principal Theme of the Rondo
a la Polaca (Ex. 7)
The form of Rondo III: beginning, the
rest of the movement
This movement, in the key of D Minor,
might have been the first replacement for the original finale
of the Deuxième
Concerto. On the other hand,
since the scoring of the Rondo a la Polaccia is identical
to that of the single-movement Concerto en Re Mineur (Concerto
IV), perhaps it was meant to be the finale of that work. But then,
what music would have formed its second movement?
The full score of the Rondo a la Polacca is found in the
Bibliothèque Nationale as
Ms. 9818 and the layout is given as follows:
hautbois solo
violino [1 & 2]
viola
flutte[20]
1
flutte 2
clarinette 1 & 2
cor in D
fagatto 1 & 2
tromba 1 & 2
basse
timpani
It should also be noted that Vogt does not include Ritornelli
III before Episode III. Also, page 19, which forms part of the
developmental section in Ritornello 11 is missing. It might be
possible to reconstruct that page from the parallel passage at
the end of Ritornello 1, but it should be noted that the two passages
are not exactly the same.
The overall manuscript of the Rondo à la Polac[c]a, which is 32 pages in length, is in poor condition. Apart from the passages mentioned above which are difficult to read or missing, the following should be noted:
1. Pages 1 and 2 are missing. If a slow movement (rather than frontispieces) were contained on these pages, it could then be argued that this movement and the Rondo a la Polac[c]a were composed to complete Concerti IV.
2. Pages 12-14a are unruled.
Despite these problems, the Rondo a la Polac[c]a appears
to be a superior product of Vogt's pen.
The 1880 publication of the Deuxième
Concerto under the new title of 3e Solo de Concert, is
part of a set of six such Solos de Concert composed by Vogt which
were reduced to piano score by Auguste Bruyant and published by
the firm of Richault as 'OEuvres Posthume'.[23] These editions appeared in the years 1876 (2,
1880, 1884, 1888, and 1890 respectively.)[24]
Version C1: 3e Solo de Concerto (1880) (Ex. 8)
The 3me and the 4me Solos de Concert are simply arrangements of two of Vogt's early oboe concertos, namely the Deuxième Concerto and the Premier Concerto , whose first versions date back at least to the year 1812. In both cases, these concerti were substantially shortened, probably in order to make them conform to the specifications of the concours held at the Paris Conservatoire.
Solos de Concert 1, 2, 5, and 6 are in a style which differs markedly from the originals of the Premier Concerto (classicism) and Deuxième Concerto (Early Romanticism). First, the overall structure of these four Solos departs from that established in the Viennese School of Mozart and Beethoven, which Vogt had maintained for Concertos I through VII. Secondly, the harmonic progressions in these same Solos are very different from those found in Vogt's Early Romantic Concertos, which have much in common with the harmonic practice of Felix Mendelssohn and Robert Schumann. In the Solos de Concert 1, 2, 5, and 6, a new style of chordal progression is heard,, and it might be best defined as "close harmony".
With these observations in mind, the present author can only wonder what percentage of this writing is by Vogt and how much is by Bruyant. Certainly Bruyant's notes regarding the 3me and 4me Solos de Concert would seem to indicate that he was working in conjunction with Vogt in modifying these pieces to serve for the concours.
The full score of the Deuxième Concerto (Version B1), includes a note from Auguste Bruyant dated January 1870 which explains the conditions under which that work became the 3me Solo de Concert [Version C 1 ]. According to Bruyant, Vogt approved removing the second rondo finale for the publication of the concerto under the new title. The reason for the deletion was that the second rondo had already appeared by this time as the third movement of the published 4e Concerto.
In addition, since according to Bruyant Vogt did not have the energy to write a new finale to replace the second rondo, the remaining two movements of the Deuxième Concerto were reversed. As a consequence, the resulting two-movement version seems to be in the key of F Major because the slow movement (now 1) is in that key and the original first movement (now II), although beginning in D Minor maintains its entire recapitulation in the key of F Major!
Obviously, both Vogt and Bruyant had forgotten that the original rondo finale of Version A could have been reinstated or that the Rondo a la Polac[c]a could have been utilized, thereby avoiding these complications. Auguste Bruyant's notes concerning the 3eme Solo de Concert follow:
This piece, which was previously published under the title of 2eme concerto is [now] republished by the house of Richault as 3eme Solo de Concert, according to the wish of M. Vogt. In addition, the Adagio [now] becomes the opening movement, and the [original] opening movement [now] becomes the finale. As far as the original finale is concerned, its resemblance to that of the 4eme Concertino25 was such that the author no longer wished to retain it. Under the circumstances, it may be played as a contest solo. The intention of the master was to write another finale, but he no longer had the strength to do so, which is all the more regrettable, as this 3eme Solo is very pretty.
His pupil Bruyant January [18]70*The piano accompaniment that I extracted from the score was approved by my master.[26]
More recent manuscript, but the author
no longer desires the finale, which is identical to that of the
4ème Concerto, which is published.
The separate trumpet parts are to be recopied.
Orchestral score / of the former 2eme Concerto / for Oboe
by / G. Vogt Complete[27]
The movements of the 3me Solo de Concert are arranged in this manner in the Richault edition No. 16807 R., copies of which are in the Bibliothèque Nationale under K. 1139 and Vm9 4971:[28]
I: Adagio Larghetto [formerly II]
II: All[egr]o moderato [formerly I]
The Allegro moderato no longer contains Ritornello I which was 71 measures in length in Version A, 58 in Version B1, and 49 in Version B2. Instead, a short passage connecting the Allegro moderato to the preceding Adagio has been added. The loss of Ritornello I makes this movement appear to be in sonata form and therefore, perhaps more modem for the time in which it was published (than the original ritornello form structure).
The specific changes made to the second movement of the full orchestral
score of the Deuxième Concerto
[Version B1] in order to make it serve as the first movement of
the 3me Solo de Concert are outlined below. Of these, the cadenza
added by Vogt can serve as a model to modern players and scholars
who are attempting to add such flourishes to other early 19th
century French works:
1 . The tempo is given as Larghetto Adagio
instead of Larghetto sostenuto.
2. Ritornello I in the dominant (measures 1-6 in B1) is replaced
by a new ritornello in the tonic, 5 measures in length.
3. The section in the Episode involving Themes lb and lbk (between
Theme la' and the return of Theme I a) is reduced from I I to
5 measures.
4. The final measure of the return of
Theme la is extended into a cadenza.
5. Theme lk is entirely rewritten.
6. Ritornello II is removed.
There are further changes in rhythm and articulation throughout
the movement. In addition, there
is significantly more ornamentation in the solo part.
Second Movement of Cl = First Movement of B1 [D Minor to F Major] (Ex. 9): Opening, continuation, continuation
The changes made to the first movement
of Verson B1 to create the second movement of C1 follow. Those
involving ornamentation and articulation (3a, 4a, and 5a, b &
c) are most instructive.
1. The tempo is given as All[egr]o moderato, whereas there was
no indication of tempo in B1 and only All[egr]o in B2, the solo
oboe part.
2. Ritornello I: reduced from 49 measures to a mere 7 measures
to serve as a transition between the two movements. Only a tenuous
relationship to the transition of B1 exists here.
3. Episode I:
a.Ornamentation -added.
b.4 measures removed from Theme 1b.
c.4 measured removed from Theme 2.
4. Episode II [Development]: a.Ornamentation
added.
5. Episode III [Recapitulation]:
a. Closing themes: new articulation.
b. New figuration for Theme 2k2 [from full score Version B1 pp.
24-251.
c. Low b added in 2k2.
6. Ritornello IV: reduced from 32 measures to 6 measures.
As if matters were not complicated enough, the 3me Solo de Concert was later revised by Albert J. Andraud and published by him in 1939 as 2nd Concertino in F [Version C2]. Unfortunately, Andraud does not delineate the modifications he made to the Richault publication in any way. As such, it is the only concerto by Vogt in print today.[29] Most American oboists are familiar with Vogt's 2nd Concertino in F through Albert J. Andraud's anthology of etudes, solos, and orchestra studies, the Vade-Mecum of the Oboist[30] which, first published by him in 1940, is still available through Southern Music.
Three versions of Vogt's Deuxième Concerto (Ex. 10): beginning, continuation
The changes made by Andraud to the 3me Solo de Concert follow. Of these, the removal of the final ritornello of the Allegro moderato is certainly the most drastic. On the other hand, the most instructive among them is Andraud's cadenza in the Larghetto, which replaces the one found in the Richault edition:
1 . More dynamic markings are added.
2. Changes of figuration.
3. Episode I: Theme lb removed, thereby reducing the section between
1a1 and the return of la from 11 measures in Version B I to 5
in Version C I to 3 in Version C 2.
4. Cadenza: 6 measures reduced to 1.
1. Changes in articulation.
2. Small changes in subdivision.
3. Measure added before the trill in W.
4. Ritornello IV removed, thereby reducing it from 32 measures
in Version B1 to 6 measures in C1 to measure in C2.
Fingering chart for the four-keyed Oboe from Vogt's Méthode de Hautbois c. 1813. (Ex. 11)
The above study has shown that the four versions of Gustave Vogt's Deuxième Concerto preserve in writing many of the procedures of variation and ornamentation which were applied as a matter of course to similar works composed in the early Romantic Era. An understanding of these procedures may therefore serve as a starting point for modem artist- performers who must according to the aesthetics of the Romantic Era, take the responsibility to create cadenzas and ornamentation, and even change sections as needed in concerti of that age.
In the author's opinion, such commonly played works as the oboe concertos by Vogt's contemporaries, Vincenzo Bellini, Gaetano Donizetti, and Bernhard Molique could benefit from a dose of the kind of personalization which the above procedures studied in Vogt's music exemplify. Following the example of the three oboists associated with Vogt's Deuxième Concerto, it might be said that modern players and the scholars who would edit such works, need actually to enter into the inner workings of such early 19th century music, as co-creators with the composer.
Furthermore, it is the feeling of the current writer that the time for the rediscovery of the instrumental music of Gustave Vogt and other French artists of his generation is now at hand. It is hoped that this paper will excite the interests of those oboists in the process of extending their solo repertories, to include a few concertos by Vogt among their 19th century offerings.
As is apparent from the foregoing discussion of Vogt's 16 oboe concerti and especially from the detailed history and analysis of [Concerto VII], the Deuxième Concerto, recreating a performance of a Vogt concerto is by no means always the easiest of tasks. For example, if Version B1 of Concerto VII were to be chosen, orchestra parts would have to be made from the full score and the missing brass parts in the third movement would have to be restored from the misplaced folio. Of course, an easier route would be to play the Version C1 of Concerto VII as arranged for oboe and piano by August Bruyant, and known in that version as the 3eme Solo de Concerto.
Concerti I through V and Concerto IX all exist in complete manuscript full scores, but parts need to be copied out. Perhaps the most accessible of Vogt's concerti is Concerto X, which is to be found in the collections of the Bibliothèque Nationale, not only as a full score with complete parts, but also in the reduction for oboe and piano published by Richault.
The Adagio pour le Cor Anglais appears to be the original form of the second movement of Concerto XIV, the 2eme Solo de Concert for oboe. It exists at the Bibliothèque Nationale as a full score with parts. Unfortunately, the first and last movements of this concerto no longer exist in an English horn version. But such a version could certainly be created by transposing the needed outer movements from the full score of the 2eme Solo de Concert.
Perhaps the reestablishment of Vogt's repertoire together with the process of co-creation is to be the work of the generation of oboists who will follow on the path cleared by the great Heinz Holliger. And perhaps those individuals will come from among those whom the American oboist, Bert Lucarelli, is hoping to inspire by way of his new competition.
One can only hope that many oboists of that generation to come will own several copies of historical oboes, and, within reason, be able to match the period instrument with the music which was destined for it. Wouldn't Mr. Vogt be happy to know that his compositions, realized with his performance practices, might again resound from the four-keyed Delusse instrument for which he composed so much interesting music!
Bibliography and Sources Consulted
ENDNOTES
1
. Volume 111, pages 417-421, Oboe.
2. The frontispiece of Vogt's Methode de Hautbois gives
1872 as the year of Bruyant's bequest. Throughout the collection
presented by Bruyant there are notes written by him directly on
the opening pages of Vogt's scores which indicate that he kept
a number of what he believed to be duplicate scores for his own
use.
3. A full description of this volume is given in the article by Bea Friedland, "Gustave Vogt's Souvenir Album of Music Autographs: A Beguiling Glimpse of Musical Paris in the 1840s," Notes XXXI (1974-75): 262.
4. Vogt was with Napoleon's army as a member of the Grenadiers Band of the Garde Imperiale during the Battle of Austerlitz and thereafter was present in Vienna, where, according to Fetis, he made the acquaintance of Franz Joseph Haydn and Ludwig van Beethoven.
5. This word is often given by Vogt in its French form, 'rondeau'.
6. However, it is reported by Michael Finkelman that these techniques were being exploited by two important brasswind players in Paris: the hornist Vivier and the trombonist Schrade!
7. "Cet avantage est trop fortement contrebalance par l'inconvenient que portent avec elles les clef en ne bouchant pas quelques fois bien hermetiquement les trous audessus desquels elles sont adaptees... "
8. Lorée was never the formal successor of Triébert.
9. Jean-Baptiste Rey was in residence at the Paris Conservatoire
from 1799 to about 1802.
10. One of Vogt's classmates was François-Joseph Fetis who has documented much of Vogt's life and output in his Biographie Universelle des Musi ciens
11. Reicha as a youth had actually resided after 1780 at the Oettingen-Wallerstein Court with his uncle, Joseph Reicha. Moving with Joseph in 1785 to the court of the Elector of Cologne at Bonn, Anton became a flutist in the court orchestra led by his uncle. A young violist named Ludwig van Beethoven was his colleague in the same ensemble!
12. Albeit in a later version
known as the 2nd Concertino in F [Version C2].
13. Ignace Pleyel includes among his own credits the fact that
he is Fabricant de Forte-Piano'. The work is dedicated to the
Count of Montesquiou-Fezensac.
14. Because of rests in
the solo part.
15. Because the soloist is resting.
16. le mi naturel, ou fa b.... ainsi que le fa naturel,
fa#, ou sol b et le sol naturel sur lesquel [le Is
je ne dirai rien de particulier sont extrement scabreuses, [et]
on n'en doit faire usage que dans les traitr[es] finals que precedent
la cadence, dans les concerto[s], ou dans les parties d'orchetre
comme solo, car dans les masses d'orchestre elle serait sans aucun
effet, la qualité de son n'en
étant pas assés [assez] volumineuse."
17. Soloist resting.
18. Soloist resting.
19. The soloist is resting in this section and in several others
which follow.
20. The spelling for the names of the instruments in this score
is Vogt's.
21. The developmental sections which conclude Ritornello I and II cannot be read on the photocopies produced from the microfilm of this work without drawing in the lines of the staff by hand.
22. An alternative section replacing the ten measures of Theme 2k2 is given on the final page of the score. It is six measures long.
24. Note on the frontispiece of the 1er Solo de Concert: La partie de PIANO par August BRUYANT. Membre de la Societe des Concerts du Conservatoire.
25. The 4e Concerto was
also known as the 4e Con
certino.
26. 3eme G[ran]d Solo de Concert
Ce morceau que etait autrefois grave sous le Care de 2ème Concerto, est regrave chez Richault comme
3ème Solo de Concert*, selon
le desir de Mr Vogt; de plus I'Adagio devient le 1er morceau et
le 1er morceau devient le final; quan[t] à l'ancien final, il ressemble tellement au final
du 4ème Concertino, qu'il
n'en voulait plus; dans ces conditions il peut être joué
comme morceau de Concours. L'intention du Maître etais de faire un autre final mais il Wen
avait plus la force, c'est d'autant plus regrettable, que ce 3eme
Solo est très joli.
27. Manuscrit plus moderne, mais le Maitre ne veut plus du finale qui est tout a fait la final[e] du 4ème Concerto et que est gravé.
les parties séparées des trompettes sont a recopier
28. The Costallat reprint is in Milan at the Library of the Conservatorio di Musica Giuseppe Verdi under the call number A-33-26-6.
29. It is available from
Southern Music Company, P.O. Box 329, San Antonio, Texas 78292.
30. Only the solo part of the concerto is available in this volume.
About the Writer
