Of the numerous compositions written for bassoon and small string ensemble during the late eighteenth and early nineteenth centuries, only eight quartets for bassoon, violin, viola, and cello are currently available in modern editions, including three by Franz Danzi, two by Carl Stamitz, and one each by Johann Christoph Vogel, Francois Devienne, and Franz Krommer. The Krommer was originally for bassoon, two violas, and cello, but the modern edition includes an arrangement with violin.
The purpose of the study is to analyze these quartets from a bassoonist's viewpoint. The analysis includes an examination of the use of the bassoon as a solo or ensemble instrument, the key areas, the range, the writing style, and the technical difficulties in each work individually and comparatively. An analysis of the formal structure of each movement is also included. Sectional divisions, theme groups, and key areas comprise the criteria for the analysis of the formal design. A graphic analysis is included which depicts the formal design and the use of the bassoon, and illustrates what kind of relationships exist between the two. The analyses are discussed comparatively as well as individually. An auxiliary purpose of the study is to gain historical perspective. Therefore, a short history of the development of the bassoon up to 1800 and biographical sketches of the composers are incorporated.
Vogel and Krommer treat the bassoon as a solo instrument with accompanying strings. Devienne also tends toward this concept, particularly in the second and finale movements. The two Stamitz works treat the bassoon as just another voice in the texture, without taking advantage of its unique characteristics. Danzi assumes a texture in which the bassoon qualities are present without slighting the strings, writing many passages of initation and interplay for bassoon and violin, and allowing both viola and cello an opportunity to state thematic material.
In formal design, the scheme of the movements is typical of the period. The Stamitz works and the Vogel tend toward rudimentary sonata form. The last four works are comprised of four movements with a minuet inserted before the finale.
Technical demands vary greatly. The two Stamitz pieces could easily be played by high school students. The Vogel and the Danzi D-flat Major are probably too difficult for high school students, but are certainly within the grasp of college students. The Devienne, the Krommer, and the other Danzi works have virtuosic passages which require more than a little facility.
Order No. 77-13, 192, 210 pages
The study is based upon examination of twenty four sources published between 1697 and c. 1825 from various regions: England, France, Germany and America. The sources range in scope from articles about the bassoon within larger general volumes about music, to self-instruction volumes for a variety of instruments, to comprehensive tutors solely for the bassoon.
The content of the study begins with a historical introduction providing perspective about the bassoon during this time period. Discussion of the instrument's essentially homogeneous construction at this time is amplified by documented background. Following is a description of the sources contacted giving title, bibliographical information and brief annotation. The main focus of the study is a survey of the sources regarding specific topics appropriate to bassoon pedagogy. Chapter three covers a player's physical requirements for technique: position, tone production, embouchure, articulation and fingering. Chapter four surveys and comments about performing skills: suggested exercises and performance practices (trills, methods of ornamenting). Chapter five deals with sources' remarks concerning reeds; choosing and adjusting ready-made reeds as well as making reeds. And chapter six surveys construction, tone quality and use of the bassoon.
The format of the study is isolation of the above topics by reporting the sources; remarks and instructions through paraphrasing or direct quotation as well as adding commentary for the purpose of additional perspective. The authors' information is kept intact with documentation, and discussion of each topic is in chronological order to provide the reader with a view of the period's concept development.
The result of the survey is additional knowledge about the bassoon as well as its pedagogy within the outlined time period. Details about the various topics provide the modern musician with insight about the instrument's capabilities inherent problems as well as a greater perspective about the bassoon during the 18th century. Through such examination of the pedagogical material, one also finds a greater definition of bassoons as well as bassoonists. Specific comparisons to modern practices are made in the body of the study as well as in the conclusions.
(For information on obtaining a complete copy of the dissertation, the reader can write Dr. Horner at 186 Commonwealth #4, San Francisco, CA 94118.)
During the 18th century a new style in music demanded a change in the means of expression. Thus the classical orchestra came to be developed. The strings, now led by their highest member, the first violins, became the largest group, and indeed the basis of the orchestra. The winds, if used, appeared first as a small group of two oboes and two horns. Haydn and Mozart kept to these modest numbers for quite a time, Haydn in about 50 of his symphonies, Mozart as late as his 29th Symphony (K. 201) and much longer in his concertos.
In the early works of Mozart oboes are from time to time replaced by flutes. This was prompted by the fact that in many orchestras the same musicians played both instruments. It was the first signal of selectivity in the use of woodwinds, which later became one of the important features in Mozart's handling of this group. During the Salzburg years with their limited possibilities, the small group of oboes and horns often achieved an important, even thematic role, as in the "Konzertante Sinfonie" for Violin and Viola with Orchestra (K. 364).
Meanwhile the consolidation of the group led to the introduction of the bassoons into it. These may have played before with the low instruments of the orchestra, but were now increasingly accorded parts of their own. Furthermore, flutes and oboes began to appear at the same time instead of alternating, and finally a new instrument joined the group, the clarinet. The full group of flutes, oboes, clarinets and bassoons is found in Mozart's works for the first time in the "Paris" Symphony (K. 297) composed in the year 1778. This full complement became later the standard in Beethoven's orchestral works. Not so with Mozart. He usually remained selective. Thus he used clarinets in the orchestral works of his Vienna years mainly as an alternative for the oboes.
With the full group at his disposal, Mozart was now able to make his individual choice of the colour he wanted for each movement, or even part of it. Just as the choice of keys is one of the primary moves in characterizing the nature of a work, Mozart now developed this second component, the selection of woodwinds.
The trend in the direction of developing an independent woodwind group called for a minimum of homogeneousness in sound. This was achieved by the use of instruments in pairs. Having been entrusted first with providing rhythmical enlivenment and transitions between phrases, the group acquired more and more independence, until it became, with and without horns, an autonomous group, complete in itself, and placed, when requested, opposite the strings.
In the works of Mozart the great step forward came in Vienna with the piano concertos of the year 1784. Here a larger group was used, though not yet with clarinets. These were introduced with equal rights in the first opera Mozart wrote after these concertos, "Le Nozze di Figaro". Last came the symphonies, pointing to Mozart's conservatism in this field. The change is obvious in the "Prague" Symphony (K. 504) and it was further refined in the three last symphonies of the year 1788. None of these has the full four pairs of woodwinds.
The new ways adopted by Mozart in writing for woodwinds reflect not only a choice of instruments for colour, but also a breaking up of the melodical line into smaller particles, to be played by different instruments, as well as the addition of woodwinds, especially the bassoon, to the melody.
On the other hand woodwinds were also used as soloists. Thus they appear in arias as single soloists, as do the clarinet and basset horn in "La Clemenza di Tito". Pairs, such as the oboe and bassoon, were used, for example, in the concert aria "Popoli di Tessaglia" (K. 316). A quartet plays in "Idomeneo" (Aria no. 11) and in "Le Nozze di Figaro" (No. 11). The main group which is used by Mozart is the trio of flute, oboe, and bassoon. It was first heard in the important Divertimento in D-major (K. 131) in the year 1772. It appears many times in Mozart's scores, sometimes throughout full movements, as in the second movement of the D-major Piano Concerto (K. 451). We find the same trio, which we have called Mozart's "concertino" in Susanna's aria "Veni non tardar" in the last act of "Le Nozze di Figaro", and still later in Pamina's area "Ach ich fühl's" from the second act of "Die Zauberflöte". The "concertino" even enters the ecclesiastical field in the "Et incarnatus est" of the C-minor Mass (K. 427).
Parallel to the individualization of string parts in Mozart's music, the woodwind texture often gains the quality of chamber music. This sometimes leads to a softening of borders between groups and to an intricate amalgamation of string and wind parts, as happens in the "Jupiter" Symphony. But these new directions do not exclude those previously used. The two other symphonies of the same year 1788 show the different groups more detached from each other. The development of the woodwind group led to a gradual ascent of the first woodwinds over the seconds. In the case of the flute, Mozart even often preferred to use only one single flute. The "Concertante" of the "Posthorn" Serenade (K. 320) however gives equal prominence to its two flutes, two oboes, and two bassoons. This is a case of a "double concertino".
Having outlined the different tasks allotted to the woodwinds in Mozart's music, we may point out that even after this great development no synthesis follows previous stages. The early technique of employing woodwinds only in pairs can still be found in the Duett of Pamina and Papageno, "Bei Männern, welche Liebe fühlen", in a late work such as "Die Zauberflöte". The decision as to how to use the woodwinds depends on the composer's evaluation of each case and its special needs.
It is well known that Mozart composed his vocal works according to the abilities of the singers for whom he wrote. The same is true for the works he composed for different wind players. Thus one finds extra high notes in the oboe quartet (K. 370) which he wrote for Friedrich Ramm, whose specialty these high notes seem to have been. Similarly the scope of Mozart's writing for the clarinet widened after he met Anton Stadler, the clarinet virtuoso, and began to write for him. When the latter extended the range of the clarinet to low c, a third lower than usual, Mozart made use of the wider range in the last of his concertos, the clarinet concerto (K. 622), as well as in the aria with obligato clarinet in "La Clemenza di Tito", both written for Stadler in 1791.
Because of the importance of the clarinet in Mozart's later works and in view of the active part Mozart took in its evolution, we have drawn special attention to Mozart's relation to this instrument. With its entry into Mozart's orchestra, it took over the E-flat major sphere, which had hitherto belonged to the oboes. Equally important, the clarinet did not enter the G-major/minor sphere, with two exceptions in the minor, the Trio of the Menuet in the "Kegelstatt Trio" (K. 498) and the second version of the G-minor Symphony (K. 550). This fact about the G-major had already been observed by Victor Zuckerkand [note 1]. What he failed to see was that apart from the reasons that he gives, which lie in the characteristic use of keys by Mozart, there are other, technical reasons: The construction of the clarinet severely limits the use of more remote keys. To this day two different clarinets, in A and B-flat, are in use. Mozart employed four kinds, in C, B, B-flat, and A. He taught Atwood to use only the key of the instrument, and those of the sub-dominant and dominant. He himself used only the first two of these. He had therefore at his disposal the keys of C, B, B-flat, A and F, E, E-flat, D. From this list G is conspicuously absent. Mozart's choice may thus be accounted for by two rather different reasons. Between both might be a relation.
Mozart's use of keys had a small range, even for this time. This accounts for the different feelings he expresses in one and the same tonality. This is partly subject to development, but it may also happen at the same time. The inherent ambiguity is equally part of the real Mozart, as is the characterization through keys. Furthermore it may well be imagined that technical reasons influenced his choice and thus Mozart's genuine methods of expression. This can be seen in the G sphere. In the same way we can trace back the development of the E flat major sphere into the tonality of deep and noble love to both, the key and the sound of the clarinet, which is so fitting for this feeling.
Another new development is the opening of the A major sphere to the clarinet in A. This clarinet had previously served Mozart merely as the "tutti" instrument in D major, for instance in the Overture to "Le Nozze di Figaro". Perhaps Stadler showed Mozart the special sound of the lowest clarinet. After the A major piano concerto (K. 488). the A clarinet appeared in A major in "Don Giovanni" and in "Cosi fan tutte", pointing in both operas to an atmosphere of dream and unreality. This may demonstrate the mood which prevails later in the two great clarinet works, the Quintet (K. 581) and the Concerto (K. 622).
In the choice of D major for the slow movements of both these works we can see the result of the usually practiced change to the subdominant key in works written in the major key. This therefore reflects a "strategical" decision. But there is more to it. The key of D major which in the earlier Mozart was the tonality for splendid, somewhat extroverted serenades, or the key of arias of rage and revenge, here presents a new and very different character. This had already come to the fore in later operas as in the Finale (No. 18) of "Cosi fan tutte". It now expresses innermost feelings in a very delicate and tender way, especially evident in the late "Ave verum" (K. 618). This widening of Mozart's range of expression meets in the two clarinet works with the opening of a new range, the soloistic D major for the A clarinet.
Having found an important place in the orchestra of "Le Nozze di Figaro", the woodwinds retain their position in Mozart's further development, in the demoniacal "Don Giovanni", in the enigmatic twilight of "Cosi fan tutte", and finally in the symbolic sacerdotal language of "Die Zauberflöte".
No great composer wrote so many works, concertos, and chamber music for woodwinds as Mozart did. One cannot imagine the woodwind literature without these works. Neither can the player of a woodwind instrument imagine performing in an orchestra without the symphonies, piano concertos and operas by Mozart. The great part allotted to the woodwinds in these works is unique. That special quality however could not become a model for later times. New works with new contents and a larger audience necessitating a bigger orchestra led to new ways in composing for the orchestra. Mozart's contribution to this area was a onetime miracle. His influence can be found only here and there, as in Haydn's last works, the oratorios, in some of Beethoven's earlier works or in Schubert's Fifth Symphony.
Mozart's "timetable" in composing has been examined by Waiter Gerstenberg in the manuscript of the C-major piano concerto (K. 503). He found that the choice of woodwinds in important and characteristic places of his scores formed part of Mozart's primary inspiration. It does not belong to some separate later process or "Orchestration".
Our extensive and meticulous examination of the woodwind parts in Mozart's music has made it possible to arrive at new conclusions as to the genuineness of some works which have hitherto been considered as written by Mozart. We have attempted to contribute some reflections to the discussion about the "Konzertantes Quartett" for winds and orchestra, which has only lately come into the open. It is our view that only part of the "soli", but none of the orchestral accompaniment can be genuine Mozart. New ideas can be added to the history of the "Gran Partita", the serenade for 13 instruments (K. 361). We believe that the two Divertimenti for winds in E flat major (K. 252 & 289 and the Sonata for Bassoon and Cello (K. 292) should be excluded from the list of Mozart's works. In the course of our examination of Mozart's relation to the G-minor sphere, we came to the conclusion that the arias by Ilia (Idomeneo, No. 1), by Constanze (Entfuhrung, No. 10) and by Pamina (Zauberflöte, No. 17), all three in G-minor and without clarinets, reveal a chastity in the character of this key in Mozart's music that does not allow the inclusion, even instrumental music, of the rather sentimental sounding clarinet in this key. If it is true, as it seems, that the G-minor Symphony was played in 1791 in a concert conducted by Salieri, in which the Stadler brothers participated, then we should see the splitting of the oboe parts into oboes and clarinets as another favour conferred by Mozart in a strange friendship. While we are today used to the opulent sound of clarinets in this symphony, we would propose a return to its original version.
The manifold ways followed by Mozart in his composing do not lend themselves readily to abstract rules, that would increase our knowledge of this great composer. While studying his sublime ways in the arrangement of his means of expression we could nevertheless catch a glimpse of the logic and the direction in Mozart's treatment of the woodwinds.
(Die Holzbläser in die Musik Mozarts und ihr Verhaltnis zur Tonartwahl, Uri Toeplitz, 233 pages. Sammlung Musikwissenschaftlicher Abhandlungen, 1411 Valentin Koerner, Baden Baden, West Germany, 1978, DM 60.)
1. Prinzipien und Methoden der Instrumentation in Mozarts dramatischen Werken, Diss. (not printed), Vienna, 1927. [return]